24Mbps, 4:2:0 AVCHD video to dual SD cards internally, but can output uncompressed 4:2:2 HD via its lockable HDMI port to an external recorder, such as the Atomos Ninja. The sensor captures 8.4 megapixels, with individual Red, Green, and Blue channels for each 1920x1080 frame, and an ISO range of from 320 to 20,000 for low light work with ‘minimal picture noise’. Sony’s new NEX-EA50 is the
first large-sensor, low(ish)-cost camcorder that can be used on your shoulder without requiring an extra rig, thanks to an innovative slide-out shoulder pad that includes mounts for battery and wireless receiver/transmitter. The Exmor APS HD CMOS sensor is claimed to offer low noise and high sensitivity in low light conditions. It also enables 1080 progressive and interlace recording at 50p/25p/50i or 60p/30p/24p/60i, recording AVCHD 4:2:0 at up to 28Mbps. Breaking from the pack, Blackmagic uses a slightly smaller than Micro Four Thirds-size sensor, which can still deliver shallow depth of field, and hold
On the shoulder mount
Most of the new studio/OB cameras can also be used in a shoulder-mount configuration. Indeed, the LDX has a new ergonomically designed ComfortPad that was developed with physiotherapists and camera users. It should reduce the need for handheld users to subconsciously lift their shoulders to level shots, reducing muscle tension and enabling the camera to be held for longer, to prevent strain or injury.
Also helping prevent strain is what Panasonic claims is the lightest mainstream shoulder-mount camcorder, weighing 2.8kg: the
its own in low light. The Digital Cinema Camera is an unusual design, using a rear LCD for touch-screen control of most of its parameters. It is essentially aimed at the DSLR market, but offers wide range of much higher- quality codecs, and greater flexibility than a DSLR does. It also comes with UltraScope and DaVinci Resolve software (worth almost as much as the camera’s price – $2,995), and is the first professional camcorder to use
AG-HPX600. It is also Panasonic’s first upgradeable camera, so that users can keep up with new technology. It comes with AVC-Intra 100 (as well as DV and DVCPRO formats), but users will able to add 50Mbps Long GoP recording and AVC-Ultra at 200Mbps as they become available. The camera has a newly-developed single 2/3-inch CMOS sensor ‘with very good low light sensitivity’ (F12 at 60Hz or F13 at 50Hz), low noise with an S/N of 59dB, a gigabit Ethernet network connection and will be able to do variable frame rates (1-60fps at 720p and 1-30fps at 1080). — David Fox
Apple’s high-speed Thunderbolt connection. It comes in two versions, one with a Canon EF-mount, the other with a Micro Four Thirds mount (for which there are low cost adapters available for many lens types, including PL-mount). The Digital Cinema Camera’s single 13-stop dynamic range sensor is 2.5K, but resolution limits aren’t necessarily limiting — the new James Bond movie, Skyfall, was shot using prototype
Future proof: The lightweight, upgradable Panasonic AG-HPX600
Arri Alexa Studio and Alexa M cameras, at 2.8K using Arriraw, but this produced up-resed 4K IMAX images that its cinematographer Roger Deakins told IBC delegates looked great.
Studio/OB cameras Arri has now taken the large sensor into the realm of the system camera with the latest Alexa upgrade, giving live productions the option of a more cinematic, shallow depth-of-field,
higher dynamic range look. By adding the €10,000 Alexa Fibre Remote option and a software upgrade, plus a Telecast Fiber Systems’ CopperHead SMPTE 311M fibre interface and a camera monitor, the Alexa can be turned into a studio or OB camera for about the same price as a traditional system camera (€40,000 — as it doesn’t need the internal recorder, which can be added later). Its higher sensitivity and dynamic range
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