Get up to £855 cashback when you buy a Canon camera and lens

Get up to £855 cashback when you buy a Canon camera and lens

If the prospect of getting a new lens with your new camera wasn’t tempting enough, Canon are now offering up to £855 cashback to customers who buy a compatible camera and lens within 90 days. 

If you’ve recently purchased, or are about to purchase, a camcorder from Canon’s Professional or Cinema EOS lines, you can claim cashback of between £60 and £855 if you buy a Canon lens within 90 days of buying your camera.

In case, unlike us, you haven’t dedicated yourself to memorising Canon’s camera sub-categories, the eligible models are:

– C700

– C300 Mk II

– C300

– C200

– C100 Mk II

– C100

– ME200S-SH

– 1DX Mk II

– 5D Mk IV

They’re available for order here on our website.

The amount of cashback you receive depends on which lens you opt for. The EF 16-35mm f/4L IS USM will get you £65, while a 200 – 400mm f/5.6 IS USM will net you the princely sum of £855. Here’s the list:

Screen Shot 2017-10-23 at 14.03.52

Screen Shot 2017-10-23 at 14.04.04

 

You can read the full terms and conditions here, or get in touch with our team on the details below to choose your camera/lens combo.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

IBC 2017: Sony unveils its first 8K System Camera

IBC 2017: Sony unveils its first 8K System Camera

Sony today unveiled the UHC-8300, its first 8K camera system to include 1.25-inch three 8K sensors, which will be demonstrated at the Sony stand 13.A10 at IBC 2017 for the first time globally. It opens up the world of 8K with the flexibility to offer customers new capturing technology for shooting in 4K and more.

“At Sony, we’re always finding new ways to empower amazing storytelling and to help our customers meet the demand for stunning 4K capture,” said Richard Scott, Head of Media Solutions, Sony Professional Solutions Europe. “The unveiling today of the 8K sensor technology offers the capability to capture for 4K production and is a leap forward in imaging technology that will give media companies such flexibility when shooting 4K productions today.”

The UHC-8300 has been designed to cover all the features necessary for premium productions including live broadcasts, entertainment and factual high end documentaries. Its 8K (7680 x 4320) 120p capturing format delivers well balanced high-resolution footage with an impressive deep depth of field and wide dynamic range, making it suitable for HDR footage for both S-Log3 and Hybrid Log Gamma (HLG) supporting ITU-R BT.2020 colour space.

The UHC-8300 camera system can be used not only for 8K production, but also for 4K. It’s able to generate 8K, 4K and HD signal outputs simultaneously applying different colour spaces and OETF to each signal. Simultaneous output of 8K HDR, 4K HDR and HD SDR signals is also possible. Accessories for the HDC series cameras, such as the viewfinders and the remote-control panels are also compatible with the UHC-8300.

Real time cut outs from an 8K picture to a 4K image provides flexible framing when capturing live action, facilitating creative enhancing features leading to better programme production.

The original lens mount is a 1.25-inch lens mount, but the UHC-8300 can also accommodate B4 mount 4K lenses with a lens adaptor. Media companies are able to choose applicable 4K lenses to ensure they are capturing every drop of action, particularly for live sports production which requires high power zoom lenses.

The 8K signal is transmitted via SDI, however the UHC-8300 also supports IP connectivity, ready for today’s IP-enabled live production system.

Sony developed the UHC-8300 camera system with customer input on the product specification given by NHK (Japan Broadcasting Corporation), Japan’s public broadcaster.

“This camera is all about giving our customers complete choice,” concluded Richard Scott. “So they have the capability to capture and deliver content with the resolution and range that’s right for each production.”

The UHC-8300 will be ready for orders to be placed from October, 2017.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our IBC roundup.

Introducing the XF400 and XF405

Introducing the XF400 and XF405

Not content to wait sensibly for IBC like everyone else, Canon have released a slew of new kit, including two new CMOS compact camcorders, the XF400 and XF405, which sit above the XC15 in Canon’s range and offer ENG crews the chance to shoot 4K UHD at up to 60p. (If you only need Full HD, take a look at the equally new XA15 and XA11 here.)

According to the Canon press corps, the XF405 offers “broadcast quality UHD and Full HD capability into a handheld, lightweight body with a 1.0 type CMOS sensor, a 15x 4K zoom lens and Dual Pixel CMOS AF. The XF405 produces outstanding clarity and sharpness. With the addition of a 100P high frame rate and network capability for FTP transfer and remote control, this camcorder is ideal for newsgathering, documentary or corporate use.”

xf405_blog_sized

What’s the difference?

The only difference between the two is that the XF405 includes a 3G-SDI terminal, providing a secure BNC connection and enabling a 1920×1080 4:2:2 10-bit signal output for broadcast. The XF400 doesn’t, but still boasts all the features listed below…

Key features

4K UHD/50P recording on SD cards with high frame rates.
– The XF405 supports UHD/50P MP4 and XF-AVC format (150Mbps) recording along with additional XF-AVC support coming via a firmware update in 2018.

– The XF405 offers 100P high frame rate recording, which brings stunning slow motion in Full HD.

– The combination of 1.0-Type CMOS sensor and dual DIGIC DV6 offers high image quality footage with clarity and detail with outstanding high sensitivity and low noise.

– ‘Wide DR’ mode enables the user to shoot with an 800% wide dynamic range, providing details in mid to high tone.

High quality 4K lens with 15x zoom
– A newly developed 4K lens for the 1.0 type CMOS sensor, using Super UD elements which minimise chromic aberration.

– The XF405 features an ultra-wide 25.5mm along with high magnification 15x optical zoom in 4K.

– A 30x Advanced Zoom capability in Full HD mode without image deterioration.

– A 9-blade iris diaphragm allows the operator to shoot beautiful and natural bokeh.

– An advanced five-axis image stabiliser helps to reduce image distortion.

– XF405 features three built-in ND filters of 1/4, 1/16 and 1/64 (2, 4 and 6 stops).

– 0.8x Wide angle and 1.5x tele-converter for additional flexibility and coverage in 4K and Full HD.

Dual Pixel CMOS AF for high-speed, precise autofocus
– The XF405 offers Dual Pixel CMOS AF, fast and accurate autofocusing in area of approx. 80% (vertically) x 80% (horizontally) of the image.

– The XF405’s touchscreen allows focus control and camera operation for an intuitive operation.

– Various AF options are offered including Face Priority AF and Face Only AF.

– The innovative Dual Pixel Focus Guide supports manual focus shooting by telling the focus position visually.

Network capability with FTP transfer and remote control
– The XF405 gives you more mobility – FTP files transfer directly from the camcorder or wirelessly by built-in WiFi.

– Using the XF405’s built-in WiFi, it is possible to control via a smartphone or tablet using a Browser Remote. Additionally, the camcorder is fully compatible with the Canon Remote Controller RC-V100.

– IP Streaming (Full HD) firmware update planned in 2018.

Compact and lightweight body, professional operability
– Compact in size, lightweight and fully featured, the XF405 can meet a wide range of individual needs.

– The XF405 features an Infrared Mode allowing users to capture video in conditions with little to no ambient light.

– With Dual SD card slots the XF405 can record simultaneously to each of the two SD cards, providing an instant backup. With relay recording, the camera automatically switches recording from one SD card to the other when the first memory card becomes full.

– Variety of connectivity options feature on the XF405, including 3G-SDI (A model only), HDMI and two XLRs on the detachable handle.

– Flexible and high quality linear PCM 4ch audio is supported

– Five assignable buttons on the XF405 body provide a convenient way to set up the camera to individual requirements and to customise control based on user preference.

– Remote operation of the XF405 is possible with the Canon Remote Controller RC-V100, allowing users to operate from a distance.

Availability

The XF400 and XF405 are due to ship in November, but you can pre-order them on our site now. Here’s the XF400, and here’s the XF405.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Canon unveil new 4K handheld camera, the Legria GX10

Canon unveil new 4K handheld camera, the Legria GX10

Canon’s latest handheld camera captures 4K 50p video, supports dual pixel CMOS autofocus and can shoot 100fps full HD slow motion. We already want one. 

legria_gx10_blog_sized

 

Other key features of Legria GX10, for that be its name, include a large sensor, a 8.3 – 124.5mm lens with 15x zoom, an 8-stop ND filter with three densities and support for wide dynamic range. The camera allows for manual control via buttons and dials, but also features an optimised 4K Auto Mode. There’s a built-in image stabilisation function, should you have a particularly shaky day, and a face tracking feature should you need to track a face (the GX10 can detect up to nine faces in a shot, but only track one face or object).

The GX10 has dual SD/SDHC/SDXC card slots, and supports either continuous relay recording or simultaneous recording to MP4 format. Once you’ve captured your footage, you can share it wirelessly with the GX10’s built-in, dual-band WiFi, which can also be used to control the camera remotely, or connect to a third party audio recorder – the GX10 itself has a mono-directional mic built in, but no XLR port.

Here’s the official Canon statement on the GX10’s virtues:

“Capture incredibly vibrant Wide DR 4K footage at up to 50fps for smooth, lifelike results. Record pin-sharp, broad landscapes and shallow focus, detailed close ups – even in demanding light – with the 15x wide angle zoom lens, high sensitivity 1.0 type CMOS sensor and 8-stop ND filter.

“Use intuitively thanks to refined handheld ergonomics with dedicated controls, professional zoom rocker, lens ring and 8.8cm (3.5”) Vari-angle widescreen display with touch-autofocus. A 5-Axis Image Stabilizer with powerful optical lens shift and Dual Pixel CMOS AF ensure steady, smooth, sharp footage.

“Speed up operation – so you capture every shot – with customisable function buttons and dial plus included wireless remote control. Instantly get incredibly professional results using Automatic mode. A high resolution, tilting viewfinder allows comfortable, stable use in even the brightest conditions.

“Experience versatility to match your vision. Shoot 50p footage, even in 4K, for stunning fluidity and realism. Slow action to half or even quarter speed with 50fps 4K and up to 100fps Full HD. Enjoy dual card relay recording for long sessions and simultaneous recording confidence.

“Dual Band 2.4/5GHz Wi-Fi enables remote shooting and control via smart devices and browsers, as well as wireless transfer of your movies. The audio input and Canon Mini Advanced Shoe allow connection of a 3.5mm mic, line level audio source or the directly connected optional DM-100 Microphone.”

Availability

The Legria GX10 is due to join us in November this year, with an RRP of £1289.99 inc VAT.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Sony announce VENICE ahead of IBC 2017

Sony announce VENICE ahead of IBC 2017

Sony have announced VENICE, their first full frame camera designed for high end film production. Pitched as a camera “created by and for the cinematographer”, VENICE has had a cracking reception so far, including a winning review from Life of Pi cinematographer Claudio Miranda.

 

venice_3_4_view

 

As NewsShooter point out, VENICE doesn’t feel like a traditional ‘filmmaker’s camera’, including as it does several of the popular features from the F55 and F5, chief among them the built-in variable ND filter. However, its most radical departure from tradition is that the entire front sensor block is user-removable. Sony plan to release different sensor blocks optimised for different types of shooting, which users will be able to swap in the field, without the need for a clean room or paid upgrade from the Sony team.

Image capture

The camera has a full frame 36 x 24mm sensor. It supports full frame, anamorphic and spherical Super35 framing, with additional modes slated to be added in future upgrades. Natively, VENICE uses E mount lenses, but is designed to work with adaptors to give you access to PL lenses – Sony’s end goal is to make a camera that’s lens and aspect ratio agnostic. You get 15-plus stops of latitude, and while the decision to limit the camera to ISO 500 has been slightly controversial, Sony insist that this limit gives you the best performance from the camera.

The camera captures footage in 16-bit Scene Linear RAW and X-OCN formats, and that NewsShooter interview reveals that ProRes is set to join the party either before shipping or slightly after as a free upgrade. It supports dual card recording, and will work with your existing R7 recorder.

Other nice touches include dual menus – one for you and one for your assistant, on each side of the camera – and an advanced cooling system that means the camera runs very little danger of overheating, despite its small form factor (133 x 159 x 172 mm and 3.9kg).

venice_exploded

Why 6K?

Sony say they chose to limit the camera to 6K rather than 8K because at 6K they can deliver better skin tones, richer colours which blend more smoothly, and more detail in the highlights of your shot. If you’re a regular reader of this blog, you’ll already know our team’s feelings about shooting over 6K, but to reiterate: we support Sony’s decision to go with the wider colour gamut over the additional Ks.

Availability

While final pricing and a release date are yet to be 100% confirmed, the estimated release date is next February.

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Introducing the Canon Cinema EOS C200

Introducing the Canon Cinema EOS C200

Canon have added a new camera to their Cinema EOS range, the C200. The camera uses newly developed Canon Dual DIGIC DV6 processors to record 4k UHD 50p MP4, 4k DCI RAW and continuous 120 fps High Frame Rate in Full HD without crop, all internally.

canon_c200

As well as this advanced capture technology, the C200 boasts Canon’s best ever Dual Pixel CMOS Auto Focus technology and a new touch screen LCD monitor, providing smooth autofocus operation and effective tracking. All this is packed into a lightweight body of just 1.4kg, making the C200 ideal for long handheld shoots, or drone or gimbal mounting.

Key features include:

– Internal 4k 50p recording with Cinema RAW Light and MP4.

– Continuous 120 fps (maximum) High Frame Rate with no cropping at Full HD.

– 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3).

– ISO range of 100 to 102,400.

– New dual DIGIC 6 processors.

– Dual Pixel CMOS autofocus with touch control and face detection, face priority and face only focus options.

– New 4” touch panel with touch autofocus capability.

– Single CFast 2.0 and dual SD card slots.

– XF-AVC video format will be available as a future firmware upgrade in 2018.

Cinema RAW Light workflows

Canon’s Cinema RAW Light codec enables the camera to process RAW image quality, but with the flexibility of a smaller file size – you can fit about 15 minutes of Cinema RAW Light footage on a 128 GB Cfast 2.0.

Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs. As a result, editing and grading of the Cinema RAW Light video format will be supported in Blackmagic Design DaVinci Resolve. Editing will be possible in Avid Media Composer, using the Canon RAW plug-in for Avid Media Access. This format can also be processed using Canon’s Cinema RAW Development application,.

Availability and pricing

The C200 can be pre-ordered now and will be shipping from late July. You can choose between a body-only model for £6415 ex VAT or one with a 24-105mm f/4L IS USM kit for £7150 ex VAT.

Canon also plan to release a single unit CG-A20 charger with an RRP of £325 ex VAT and a new CL-V2 Clamp base with an RRP of £358.35 ex VAT.

Looking for something similar?

This camera is on the same level as Sony’s FS5 and FS7, and comparable to the UA-EVA1 that Panasonic announced at Cine Gear Expo (200g lighter with a 5.7K Super 35mm size sensor; no current RAW support but Panasonic have confirmed it will arrive in a future update.)

If you want to know more, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

 

NAB 2017: Panasonic showcases next gen technology and solutions to support 4K smart entertainment and connected stadiums

NAB 2017: Panasonic showcases next gen technology and solutions to support 4K smart entertainment and connected stadiums

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.

 

If you want to know more on the biggest and best NAB Show releases, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter‘Like’ us on Facebook or take a look at our roundup post.

Inferno or Flame? What you need to know before choosing a Ninja

Inferno or Flame? What you need to know before choosing a Ninja

There have been some big changes to the Atomos Ninja family recently, with Ninja 2 and Ninja Star going end of life (we have the last stock of the Star over on our official eBay page) and the price of the Ninja Blade getting slashed. So which of the surviving models, the Ninja Flame and the Ninja Inferno, is right for you? 

Ninja Flame: basic vs bling versions

A 4K 30p-capable monitor and recorder, the Flame comes in two flavours: the original kit, complete with accessories that include an HPRC case, cables, batteries and charger, a docking station, five Master Caddy IIs, two AC adaptors and HDR sun hood, which will set you back £970 ex VAT; and a no frills Basic Kit for £695 which just includes a Master Caddy, power supply and travel case.

If you’re new to the Ninja range, or the Atomos lineup generally, it’s a good idea to go for the full kit, as the interchangeable cables, storage etc will serve you well as your Atomos lineup inevitably grows (we’re yet to meet anyone who’s managed to stop at one Atomos device). If you’ve already got a full complement of accessories, obviously feel free to save yourself a few quid and opt for the Basic Kit.

Ninja Flame vs Ninja Inferno

The Ninja Flame and Inferno share many similar specs: they’re both HDMI-only, they both sport HDR-ready monitors supported by Atomos’s AtomHDR technology, they can both be linked to larger HDR-ready monitors, both have 10-bit processing and 1500 nits of brightness, and both support ProRes and DNxHR.

They also boast all the features that made us fall hard for the original Ninja monitor, such as start/stop trigger recording, metadata tagging and the ability to record to spacious SSDs rather than SDXC cards.

So what’s the difference between a Flame and a full-blown Inferno? Well, while the Ninja Flame tops out at 4K 30p, the £875 Inferno can keep going all the way up to 4K 60p. Because of this, it’s done particularly well as a partner to the Panasonic DC-GH5, the first compact camera to ever hit the 4K 60p milestone, but we also like it with the Sony FS7 (on which you can now get £346 cashback) or the Panasonic DVX200.

The Inferno is also the only model that’s able to record 4K DCI – aka ‘cinema 4K’ rather than the kind used for television, so if you’re shooting for the big screen, opt for an Inferno over a Flame.

And let’s not forget G-Tech

atomos_master_caddy

Whether you opt for the Flame or the Inferno, we’d recommend investing in a G-Tech Atomos Master Caddy, too. It may sound like a piece of futuristic golfing equipment, but it’s actually an Atomos-endorsed line of storage made of G-Technology SSDs (which can achieve transfer rates of 500 MBps +). The Atomos Master Caddy (pictured above) inserts directly into any Atomos recorder. The caddy then slides into the ev Series Reader Atomos Master Caddy Edition, which slips into any G-DOCK ev or ev Series Bay Adapter, so footage is part of your established G-Technology storage workflow as soon as you’ve finished shooting.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Sony introduce new options for Prime and Elite Support

Sony introduce new options for Prime and Elite Support

Most of Sony’s entry level professional camcorders come with two years’ Sony Prime Support Pro, but you can now extend that for up to five years, or swap it for the even better Elite Support. 

Your professional Sony cameras come with two years of Prime Support Pro, entitling you to a multilingual helpdesk from 9am-6pm, an average 14 day turnaround on repairs, and help with all the logistics of your returns and repairs.

Now, you can extend your Prime Support Pro for up to five years total. There is one simple way to do this: give us a call and let us figure it out for you. But your three options are basically:

– Buy an extended warranty of one to three years at the same time as you buy your camera, and this time will be added on to the two years’ support you receive for free.

– At the end of your two free years, you can buy three years’ additional support all at once.

– At the end of your two free years, you can extend your warranty one year at a time for up to five years total.

Prime Support Elite

If you want extended support hours, guaranteed fast-track repairs, loan units, advance swaps and help with any setup that needs to be done, you can upgrade to Prime Support Elite. When you buy your camera, simply let us know that you’d like to upgrade your support, and we’ll exchange your two years’ free Prime Support Pro for two years’ paid Prime Support Elite.

After your initial two years, your Elite support can be extended in one or three year increments for up to five years total, the same as Prime Support Pro.

Pricing and availability

Prime Support Pro and Prime Support Elite are available on all professional Sony camcorders. The price varies depending on which model of camera you’ve bought; our full list of prices is available here. Both options are available now, so get in touch with our team on the deals below.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Sneak peek: Sony FS7 Mk II

Sneak peek: Sony FS7 Mk II

Sony’s new PXW-FS7 Mk II camcorder is now shipping, and we’ve managed to lure a demo unit to our Golden Square premises for customers to try out. Here’s what we’ve learned so far from testing the upgraded version of the FS7… 

fs7_full

The original FS7 was a fantastic run and gun camcorder at a fantastic price point. Because people have been so positive, the FS7 Mk II is not a totally new camcorder – Sony have simply added some much-requested extra features. While none of them are particularly groundbreaking in and of themselves, they are all based on common user requests, enhancing an already great camera with some higher-end professional features. (Purists will be happy to hear that the original is staying on the market for the time being.)

In a win for anyone who’s spent time building their perfect FS7 rig, the two cameras are the same form factor so most FS7 accessories will also work with the Mk II.

So, what are the new features? 

Well, the main differences in form are the new E mount lever lock and the additions to the unique arm design. This is a newly designed version of the Sony E mount, which is similar to a PL or B4 style lever lock in that you don’t have to rotate the lens to fit it on the lens mount, which is tricky with matte boxes and follow focus on the lens. This new style of lens mount means the Mk II is strong enough to take much larger and heavier lenses. This is particularly significant for B4 adaptors with lenses where the weight is further forward.

fs7_lens_mount

Another new feature is the variable ND filter (the same one as seen on the FS5). Like the FS5, it’s an easily over-looked enhancement, but it’s incredible. You can still adjust the ND filter to three options, but unlike most mechanical ND systems, Sony have uniquely created a variable ND filter that is electronically tinted.  This means you can set your three ‘ND filters’ to be any level of ND (1/16, 1/64, etc.) from within the menus. Very handy if you want to manipulate the depth of field in any given situation.

Other key changes include: 

– The handle now has two levers on it, so it can be adjusted without screws and can be mounted on the bottom of the body, similarly to the FS5, which should allow for easier control of the camera.

– The media slot has been adapted so that the XQD cards stick out more, making them easier to release and grab.

– There are three more assignable buttons, bringing the total on the camera to 10.

fs7_camera_controls

– The mic bracket has been redesigned to make it sturdier on top of the camera.

– The LCD viewfinder had been redesigned, with a much improved sun hood. The bar it screws on to is now square shaped, so it locks on – no movement!

– Rec2020 colour space compliance.

– The kit version now includes the SELP18110G – a much wider angle 18-110mm APSC lens (this can also be bought separately).

The Mk II can still only output 12-bit RAW via SDI, so you’ll need an XDCA-FS7 camera extension box and a Atomos Shogun Flame, Atomos Inferno or an Odyssey 7Q to get that RAW footage XDCAFS7.

 

– You can buy the Sony PXW-FS7 Mk II camcorder now from Jigsaw24.

Want to know more, or book a demo? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.