LAS VEGAS, Apr 16, 2012 (BUSINESS WIRE) — Blackmagic Design today announced Blackmagic Cinema Camera, a revolutionary digital cinema camera design that includes powerful features such as super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in an attractive compact design for only US$2,995.

Many current generation video cameras suffer from a “video look” due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management. With these limitations, they cannot be used for high end work or feature films.

Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.

Blackmagic Cinema Camera

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and is fully compatible with extremely high quality Canon EF and Zeiss ZF mount lenses.

Blackmagic Cinema Camera also includes a full copy of DaVinci Resolve for color correction and Blackmagic UltraScope software for waveform monitoring. UltraScope can be run on a laptop connected to the camera via a Thunderbolt connection.

One of the most important features of the camera is its super wide dynamic range of 13 stops, allowing feature film quality images. Commonly people focus on more pixels, however often this just creates a higher resolution, but still “video” looking images that suffer from highlight and black clipping that limits details. Blackmagic Cinema Camera’s wide dynamic range eliminates this problem and provides film quality with dramatically more detail retained in black and whites in the image. Once the shoot is complete, the included DaVinci Resolve color correction software can be used to adjust images and take advantage of this extra range in the images. The high quality EF and ZF lens compatibility also helps create sharp and cinematic images that look incredible.

To eliminate the damage that low bit depth and high compression video storage creates, Blackmagic Cinema Camera includes a fast SSD recorder. The built in SSD recorder can record on fast solid state disks the full sensor detail in 12 bit Log RAW files in the open standard CinemaDNG format. These files can be read by all high end video software. The full 2.5K sensor data is stored in the files completely uncompressed because the SSD has the speed to store video data at the required rate. Then this high quality file can be color corrected on DaVinci Resolve for the same high quality result currently only possible on cameras costing tens of thousands of dollars.

Blackmagic Cinema Camera has been designed as the perfect companion to Final Cut Pro X and Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video file formats that are not compatible with popular NLE software, often making the post production process a nightmare, the Blackmagic Cinema Camera includes absolutely no custom video file formats, and every file type included is open standard. It records into Cinema DNG format for RAW files, ProRes and DNxHD for HD resolution files compatible with Final Cut Pro X and Avid Media Composer.

The built in large LCD display makes focus easy, and allows playback of captured files. Blackmagic Cinema Camera includes a built in microphone, as well as external jack based mic/line level balanced audio connections. When playing back recorded clips, a speaker is built in, and there is an included headphone socket, as well as embedded audio on the SDI output and Thunderbolt connection. The SDI output includes all camera data such as timecode, transport control, shutter angle, color temperature setting and ASA information overlaid in attractive antialiased fonts.

For easy metadata entry, the built in LCD features fast and responsive capacitive touch screen technology. When the user taps the display with a finger, a data entry window called the “slate” appears. This lets the user enter shot information just like typing on a smart phone. This data is then stored in the files so can be accessed by NLE software when editing content later. Metadata is compatible with popular software such as Final Cut Pro X and DaVinci Resolve. All camera settings can be changed on this touch LCD, such as frame rate, shutter angle, color temperature, dynamic range, focus assist settings and more.

Blackmagic Cinema Camera includes an innovative industrial design built from solid machined aluminum metal which results in an attractive but rugged design. All of the camera, recorder and display have been shrunk down into a lightweight design that’s very portable.

“This is one of the most exciting products we have ever created and its been a work in progress for a very long time,” said Grant Petty, CEO, Blackmagic Design. “Ever since I was a telecine engineer back in the 1990′s I have wished that video cameras would include features that allowed them to perform creatively similar to film. However current digital cameras are too heavy, way too expensive and need costly accessories to work. We felt there was a need for a camera that delivered these features in a design that’s optimized for professional video shoots, as well as being a compact, elegant design that’s easily affordable. We think we have achieved that!”

Blackmagic Cinema Camera Key Features

High resolution 2.5K sensor allows improved anti aliasing and reframing shots.
Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
Built in SSD allows high bandwidth recording of RAW video and long duration compressed video.
Open file formats compatible with popular NLE software such as CinemaDNG 12 bit RAW, Apple ProRes and Avid DNxHD. No custom file formats.
Includes no custom connections. Standard jack mic/line audio in, BNC 3 Gb/s SDI out, headphone, high-speed Thunderbolt I/O technology, LANC remote control and standard DC 12-30V power connection.
Capacitive touch screen LCD for camera settings and “slate” metadata entry.
Compatible with extremely high quality Canon EF and Zeiss ZF lenses.
Supports 2.5K and 1080HD resolution capture in 24, 25, 29.97 and 30 fps.
Thunderbolt connection allows direct camera capture via included Media Express software and supports live waveform monitoring via the included Blackmagic UltraScope software.
Includes a full copy of DaVinci Resolve 9.0 color grading software.

Availability and Price

Blackmagic Cinema Camera will be available July 2012 for US$2,995 from Blackmagic Design resellers worldwide.

More info: Blackmagic Cinema Camera

The list price of the camera will be around $10,000, and it should ship in June of this year. Watch the video above to get a closer look at the slow-motion fonction of the camera and read the Preliminary information from Sony Europe to have an idea of some the specs.

The first footage from Sony’s new NEX-FS700. The new Super 35mm model is designed for high-speed shooting and is capable of capturing footage at up to 960 frames per second. The camcorder also features a range of capabilities such as 3G HD-SDI output and built-in ND filters. Additionally, it also offers several creative options, shooting styles and enhanced ergonomics – all based on customer feedback – to deliver a flexible production tool that fits seamlessly into a variety of shooting applications.

Before the preliminary information I wanted to list a few of the videos that feature the Sony FS700. I have to say that the 200fps slow motion in 1080p looks pretty good.

Racing with planes by Peter Prevec

This is a movie recorded a few hours after Peter got a pre production Sony NEX-FS700 camera for a weekend. It was shot completely in 200fps, except a few shots. Peter shot the film using Nikon lenses. He used a shoot35 follow focus and a SmallHD DP4 . The camera was rigged on Half Inch Rails S2 Run ‘n’ Gun rig on Manfrotto 540HD head.

VS – 1080p Film shot on Sony NEX FS700 by Hangman Fstop

This film was produced to demonstrate the 200fps mode 1080p on the New Sony NEX-FS700. This camera will do up to 960fps but at reduced bitrate and resolution. Directed by James Tonkin, produced by Den Lennie, Camera, James Tonkin and Director of Photography Den Lennie.

VS – 1080p Film shot on Sony NEX FS700 Behind the Scenes

Behind the scenes film about the first test shoot with Sony NEX FS700
Camera James Miller
Editor Matt Cronin
Music Alan Witts

A short review on the Sony NEX FS700 by Hangman Fstop

90 Seconds – Shot on Sony NEX FS700 by James Miller

A Sony FS700 480 FPS Test by Andy Shipsides

This was a very quick test Andy did with the FS700 and its super slow motion options. Both clips are shot at 480 fps which records 10 seconds of real time. The image quality is reduced when shooting in this mode. The camera can be triggered at the start, end, or ‘end half’ when shooting slow motion. Even with some quality loss, the 480 fps looked pretty good. Andy did test 960 fps and the image quality was obviously reduced. They used a very strong LED light source which caused the magenta / green shifts.

Preliminary Information

This is preliminary information. All features and specifications are subject to change without notice.

4K “Exmor” Super 35 CMOS sensor

The NEX-FS700E camcorder uses a new 4K “Exmor” Super 35 CMOS sensor (total 11.6 million pixels). This high-speed readout chip is optimised for motion picture shooting, giving high sensitivity, low noise and minimal aliasing. A future firmware upgrade will enable the NEX-FS700E to output 4K RAW bit-stream data over 3G HD-SDI when used with an optional external 4K recorder.

Super slow motion at 10x at full HD or 40x at lower resolutions

Incredible super slow motion capability of up to 10x slow motion at full HD resolution or up to 40x slow motion at a reduced resolution, giving you creative options that were once only available with specialist high-end equipment.

E-mount interchangeable lenses offer a wide choice of lenses

The E-mount interchangeable lens system utilises an extremely short flange back distance allowing you to use a huge array of lenses via a range of adaptors giving you almost unlimited creative options.

Additional A-mount lenses available

The Sony LA-EA2 A-mount lens adaptor allows you to use the wide range of high quality alpha lenses and take advantage of the auto focus function for quicker, more convenient operation.

Built-in ND filters

The NEX-FS700E features built-in, ultra-thin ND filters, offering exceptional shallow depth-of-field on highlights. It also means less accessories to manage as no external ND filters are required.

3G-SDI interface and HDMI

A 3G-SDI output enables easy integration with highest quality recording formats.

Exceptional ergonomics

The NEX-FS700E has a refined ergonomic design with a robust detachable handle and grip.

Switchable 50 Hz and 60 Hz shooting

The NEX-FS700E is switchable between 50 Hz and 60Hz to allow 24p shooting in PAL areas and no PAL/NTSC limitations.

Selectable magnification and positioning of expanded focus

Expanded focus improvement allowing 4x and 8x magnification and a moveable area of expansion for easy focusing with shallow depth of field.

Camera profile settings storage on memory card

Up to 99 camera profile settings can be stored, allowing rapid adaptation to multiple shooting environments without time wasted adjusting parameters. Settings are also easily shared in multi-camera productions.

Equipped with an 18.1-megapixel full-frame 24mm x 36mm Canon CMOS sensor, the camera records 8-bit 4:2:2 Motion JPEG 4K video to the camera’s CF memory card at 24 frames-per-second (fps) or Full HD 1920 x 1080 video at selectable frame rates from 24p to 60p, making it possible for next-generation visual expression with even higher image-quality and resolution performance.

“The Canon EOS-1D C digital SLR camera was designed in response to the needs of filmmakers, television producers, and other high-level motion-imaging professionals,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “Not only does it combine 4K and Full HD video capture with a convenient design, its use of dual CF cards also offers an efficient workflow compatible with today’s post-production requirements.”

The Canon EOS-1D C digital SLR camera incorporates Canon Log Gamma to enable the recording of high-quality video with rich gradation expression, making possible the type of impressive image quality required in motion pictures by maximizing both highlight and shadow detail retention while also providing a high level of color-grading freedom. The EOS-1D C’s full-frame 24 x 36mm 18.1-megapixel Canon CMOS sensor makes possible a wide range of creative imaging expression, such as image-blur effects. Additional features include an expanded sensitivity range of up to ISO 25600 for exceptional motion-imaging results with reduced noise even in low-light settings. The camera’s ability to record 8-bit 4:2:2 4K and 8-bit 4:2:0 Full HD video to CF cards eliminates the need for an external recorder and enables workflows with increased mobility. If desired, however, captured video (excluding 4K video) can be output from the camera’s HDMI terminal to an external recorder using an uncompressed YCbCr 8-bit 4:2:2 signal.

4K video is captured by an approximately APS-H-sized portion of the full image sensor, while Full HD video can be captured in the user’s choice of two different imaging formats:

• 1. The standard Full HD setting captures the full 36mm width of the CMOS sensor to achieve the largest possible angle of view for any compatible lens.
• 2. An optional Super 35 crop setting enables cinematographers to match the industry-standard imaging format and angle of view achieved by traditional motion picture cameras. This enables video footage from the EOS-1D C camera to more closely match the look of footage from other cameras in multi-camera shooting environments.

Other useful video-related features on the EOS-1D C DSLR include a built-in headphone jack for real-time audio monitoring, and the ability to view the camera’s LCD even when the HDMI port is connected to an external monitor. The EOS-1D C camera uses the same LP-E4N battery pack as the EOS-1D X, and it can also be powered by an optional AC Adapter Kit.

The EOS-1D C camera ships with Canon software applications including EOS Utility, which enables various camera settings to be adjusted from a PC, and Picture Style Editor. These two personal computer applications enable users to view the camera’s live output on an external monitor1 and adjust the image in real-time to maximize shooting and post-production efficiencies. The software also ensures no loss of quality for 4K/Motion JPEG and full HD/60p video displayed on the external monitor, and it enables video shot with Canon Log Gamma to be output on the monitor with video gamma applied.

The Canon EOS-1D C camera can be used to capture still images with more than 60 interchangeable Canon EF and EF Cinema Lenses, all of which are designed to deliver exceptional image quality to maximize the potential for creative visual expression. The compact size and lightweight design of the camera make it easy to carry so it is highly mobile for convenient shooting inside automobiles and other confined spaces. Its compact size also enables peripheral equipment such as rails and cranes to be more compact, which can facilitate smoother handling and reduced costs on-set. The camera’s low-light capabilities can also help to minimize lighting costs and increase versatility for lighting. For added usability, record start/stop can be remotely controlled by EOS Utility Software via an optional Canon WFT-E6A Wireless File Transmitter.

Realizing the same exceptional still-image performance as the recently introduced Canon EOS-1D X digital SLR camera, the camera provides a sensitivity range of ISO 100-51200 for outstanding still-image results with reduced noise, even in dimly lit settings. Incorporating high-performance Canon Dual DIGIC 5+ image processors, the EOS-1D C delivers high-precision AF and AE performance while also enabling high-speed continuous shooting of up to approximately 12 fps. In the ultra-fast continuous shooting mode, the EOS-1D C provides a continuous shooting speed of up to approximately 14 fps (mirror remains raised during shooting; JPEG images only).

The Canon EOS-1D C digital SLR camera is scheduled to be available within 2012 at a suggested retail price of $15,000.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

The Phantom Miro M320S is a small, lightweight, rugged digital high-speed camera packed with advanced features, which now includes HD-SDI for advanced monitoring and workflow possibilities. The camera has advanced features previously available on cameras at twice the price, is easy to learn and use, and addresses applications in a wide variety of industries.

The M320S is a 2 megapixel camera with 3.2 Gigapixels/second (Gpx/s) throughput. This translates to 1380 fps at 1920 x 1200, or over 1500 fps at 1920 x 1080. The M320S uses microlenses on its custom-designed CMOS sensor with 10 μm pixel pitch to achieve great light sensitivity, and with 12-bit pixel depth you can expect excellent image quality.

• 1920 x 1080 resolution at 1,540 fps
• 1152 x 1152 square resolution at 2,250 fps
• Throughput 3.2 Gpx/s
• Minimum exposure: 1μs
• ISO: 8600T Mono; 1100T Color
• Compatible with the Phantom RCU for un-tethered recording
• HD-SDI output for improved video workflow and monitoring

Record Time: Phantom Miro M320S with 12GB of RAM

Scientists and engineers can take advantage of the 3.2 Gpx/s throughput, precise timing, camera synchronization, flexible triggering, excellent light sensitivity, and many other advanced features to gain insight into products and processes. The camera allows you to see what cannot be seen with the human eye. Applications ranging from animal studies to PIV to product characterization are now possible with this accessible camera.

Artists now have access to a camera based on the Academy Award winning technology of the Phantom Flex for TV and new media applications.

These two uses — scientific/engineering and entertainment/production — each have their own data sheet that you can download from the sidebar to the right. (“M-Series Family” and “Production” respectively.) Check them out!

Each Miro M-Series camera is compatible with Vision Research’s unique CineFlash storage technology. These removable, non-volatile storage devices slide into the camera body and provide a way to quickly save raw cine files from the camera’s memory without the need for time-consuming and costly downloads. Later, remove the CineFlash module from the camera and insert it into the docking station connected to a computer. Cines stored on the CineFlash are now immediately available on the computer. You can also transfer the cines from the camera to your computer and edit the images using our Phantom Camera Control software (PCC). When ordering your camera,  just specify if you want 60GB, 120GB or 240GB CineFlash storage. A 60GB CineFlash and Dock are standard with every camera purchase!

The Phantom Miro M-Series supports four lens mounts: F-, C-, PL- or EOS. EOS mounts allow the use of Canon EF and EF-S automated lenses. Adjust lens aperture and focus either on-camera, or remotely using our Remote Control Unit or Phantom Camera Control software.

What are the differences between the Miro M320S and the Phantom Flex?

• Frame rate and resolution: The Phantom Flex has both higher resolution and throughput than the M320S, and up to 32GB of internal RAM memory as opposed to the M320S’s 12GB of RAM.  This means longer record times can be achieved on the Flex.
• Flash storage: The Flex uses the Phantom CineMag storage system, which can save 12GB in about 12 seconds, as opposed to the M320S’s CineFlash storage system which will save a full 12GB take in about 3 minutes.  Flex Cine files saved to the CineMag can be later reviewed on camera or CineStation over HD-SDI. Reviewing Cines stored on the CineFlash from a M320S is not possible over HD-SDI. CineFlash files can be reviewed in-camera over Ethernet in PCC, or via the CineFlash dock when preparing to download footage.
• Color processing: The M320S supports the new Phantom PH16 protocol, which means improved white balance and color processing controls.  The Flex is based on the Ph7 protocol which includes legacy red & blue gain white balance and color processing.
• HD-SDI: Video playback over 4:2:2 HD-SDI is possible on both camera models, however the Flex supports advanced in-camera scaling for larger resolutions as well as either 4:4:4 video or 2x identical HD-SDI feeds.
• Power and additional monitoring: The Flex features a separate viewfinder port and 2x auxiliary power ports, which the M320S does not have.  The M320S does however have a built in battery port for use with common Sony camcorder batteries.
• Size & Weight: The M320S is approximately 3 lbs and 7.5 x 3.5 x 4”, and the Phantom Flex weighs in at 11.75 lbs and 11.5 x 5.5 x 5.0”

For a full comparison of the Miro M320S and the Phantom Flex please click here.

Phantom Miro M320S Datasheet (Right click to download PDF)

More information about the camera in VisionResearch.com

“The EOS 60Da is a testament to the constant desire to meet the needs of every customer, including those in specialized fields,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., “This new camera enables an accurate depiction of a part of our solar system which is hard to achieve with conventional cameras but should be enjoyed and celebrated.”

Canon 60Da Orion Nebula

The Canon EOS 60Da camera packs a powerful 18-megapixel CMOS sensor (APS-C) that produces sharp and high-contrast images of astronomical objects, a major enhancement over the EOS 20Da model’s 8.2-megapixel sensor. The improved infrared-blocking filter is a modification suited specifically toward astronomy enthusiasts to achieve a hydrogen-alpha light sensitivity that is approximately three times higher than that of a normal Canon DSLR camera. This produces a 20-percent higher transmittance of Hydrogen Alpha line, or H α wavelength, allowing astronomers to capture crisp, clear images of reddish, diffuse nebulae.

Crisp images of the stars and planets can be viewed on the EOS 60Da’s improved 3.0-inch Clear View LCD screen with 1,040,000 dots for detailed focusing. The flip-out Vari-angle screen allows photographers to adjust the screen for easy viewing without straining even while the camera is mounted to a telescope via a third-party T-ring adapter. Optimized for stargazing with friends or in an educational setting, astronomy enthusiasts can connect the camera to a TV with the provided AVC-DC400ST Stereo AV Video Cable and display the night sky on a TV monitor using the camera’s Live View mode. Moreover, the EOS 60Da’s Live View mode is equipped with a Silent Shooting feature that eliminates shutter-induced vibration for maximum camera stability when the camera is mounted to a telescope or super-telephoto EF lens.

Enhanced noise reduction on the EOS 60Da sensor offers photographers the ability to experiment with the wide array of ISO settings and increased ISO speeds up to 6400 expandable to 12800. Other features include an intelligent nine-point autofocus system, full manual controls, and RAW, JPEG, and RAW+JPEG image recording capabilities.

The EOS 60Da helps capture the wonders of the night sky with its use of Canon’s award-winning EF and EF-S lenses along with other EOS accessories. Additionally, the EOS 60Da is packaged with Canon’s RA-E3 Remote Controller Adapter, providing the ability to connect a Canon Timer Remote Control such as the TC-80N3 (optional accessory). The TC-80N3 is ideal for controlling time exposures longer than 30 seconds as well as capturing a series of consecutive time exposures that can be composited during post-processing for improved image quality. This is especially useful when the camera body is connected to a telescopeⁱ or an EF super telephoto lens.

Canon has also included an AC adapter kit with the EOS 60Da, allowing the camera to be powered through an AC wall outlet or a battery-powered inverter, ideal for long exposure image or video capture at home or in the field.

More sample images here: http://web.canon.jp/imaging/eosd/samples/eos60da/

As a specialized product, the EOS 60Da is only available to order from select authorized dealers. The estimated retail price is $1,499.00 and it is expected to be available this month.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

The SWEET 16 production bundle is the ultimate combination of two “state of the art” products. The T-CAM with its innovative SOHA platform offers the customer a uniquely long life-cycle product with all kinds of upgrade options. ARRI‘s Ultra 16 lenses offer outstanding optical performance inside an incredible compact and durable housing.

As Weisscam DoP and CEO, Stefan Weiss comments:

“Shooting with the SWEET 16 production bundle offers you a really compact high-end creative solution. With a total weight of just 3 kilos (6.6 lbs) you can shoot up to 340fps, have a T-Stop of T1.3, a close focus up to 0,2m (from film plane) and a beautyful, cinematic depth of field”.

The SWEET 16 production bundle is also a perfect solution for every 3D shooting:

All T-CAMs can be synchronized easily and use only perfectly matched sensors. The ARRI Ultra 16 lenses are super color matched and are the ideal partner for the T-CAM, providing an optimal 3D solution for professional film makers.

The superbly compact and light ONE HOUSING CONCEPT of the T-CAM complements the ARRI Ultra 16 lenses with their similarly compact design across all focal lengths, including the wide angle 6mm.

You can visit WEISSCAM at NAB (booth C8740) to reserve the exceptional SWEET 16 production bundle.

Sweet 16 Bundle

Press Release in English

Press Release in German

About Weisscam:

With a long history of working “on set,” on locations around the world and with some of the largest studios and production companies in Germany, Weisscam puts extensive experience into everything they do. Weisscam GmbH provides high-quality and expertise in the following areas: Camera development, Equipment Rental, and Production Services.

Stefan Weiss, DoP, created his first prototype digital high-speed camera, the WEISSCAM HS-1, in 2005 in order to fill a gap in the market and meet the needs of his client’s projects. With the development of the WEISSCAM HS-2, Weisscam began expanding its product family, which now includes the WEISSCAM Digimag DM-2, the WEISSCAM Handunit HU-2, and the WEISSCAM Debayerbox DBB.

“Everything Weisscam does is based upon our direct experience in film production as well as input and feedback from our customers, users, and extensive industry network. Because we are not just product designers, but also professional film people, we have the direct experience of our equipment as professional users. Combining this with the input and feedback from our customer and user base, ensures that we are developing future-oriented technology and products that meet professional standards and needs.” Stefan Weiss, DoP and Managing Director, Weisscam GmbH

http://www.weisscam.com

The T-Cam is a 2/3” Sensor camera that shoots up to 350 fps and it’s rated at 600 ISO with 12 Stops contrast range. The camera outputs 12-bit RAW and 10-bit HD video footage. Going forward every „T-CAM“ will be equipped with new “SOHA” hardware.

As Weisscam DoP and CEO, Stefan Weiss comments:

“We always wanted to develop a platform that outlasts the short product cycles that are current within the industry. With our new “SOHA” platform we can build cameras that are long lasting, extendable, flexible and always easy to use.”

To achieve this innovative objective, WEISSCAM created the “SOHA” platform with the following design concepts:

- Interchangeable sensor board (2/3”, Super16 and Super35 format).
– High performance interface (up to 1.200MByte/s) for industry standard recorders.
– Uncompressed RAW and HD output.
– Modular software architecture.

The core architecture of the “SOHA“ platform provides customers with major operational and financial benefits. Sensor boards can be changed to cover all formats or to upgrade the hardware to the latest sensor design without the need to buy a new camera.

Although “SOHA” delivers a highly complex technological solution, the intuitive user-friendly interface allows operators to seamlessly use the camera under all shooting conditions and environments which was a major design requirement of the platform design for DoP/CEO Stefan Weiss:

“We see it as our responsibility to simplify the application of high technology so that even first time users find our products completely intuitive. The „T-CAM“ with „SOHA“ is the embodiment of this concept and completely empowers the creative process enabling film makers to maintain total focus and immersion in their passion – making films!”

Weisscam Product Manager Leander Brinkmann told me that the price of the T-CAM will be between the Red Epic and the Arri Alexa (around $70.000 I guess). They will start shipping the first units in Q3, 2012.

About Weisscam

WEISSCAM is a company of film enthusiasts who love to create amazing images and amazing cameras. Their extensive movie set experience was the creative dynamic for the design of two award winning high-speed cameras – WEISSCAM HS-1 and WEISSCAM HS-2 – which went on to become one of the leaders in the high-speed film market within just 5 years. The WEISSCAM HS-2 is used from Hollywood to Bollywood in all kinds of features films, road movies, documentaries, TV shows and magazines.

WEISSCAM combines the intensive technical experience of camera development with the continuous practical use of the cameras on set. This expansive depth of knowledge and an innovative mindset has been incorporated into a completely new camera design offering the user flexibility, a long-life cycle and the expandability they expect from a camera…. the „T-CAM“.

Website: Weisscam.com

Facebook: Facebook.com/weisscam

Squeezed into a submersible as futuristic as anything in his movies, James Cameron intends to descend solo to the ocean’s deepest point within weeks, the Canadian filmmaker and explorer announced Thursday.

Just Tuesday, during testing off Papua New Guinea, Cameron dived deeper than any other human has on a solo mission. Now he aims to become the first human to visit the Mariana Trench’s Challenger Deep in more than 50 years—and to return with animals, images, and data that were unthinkable in 1960.

More About DEEPSEA Challenge here.

Read the Full Post here.

In a Telegraph.co.uk interview, Cartier UK’s executive chairman Arnaud M.Bamberger explained:

“This project has been treated like a real movie, we wanted the best special effects, a big director, an incredible model and props to intertwine with our incredible history…We wanted a movie we would be proud to show to Steven Spielberg”.

The panther travels to St Petersburg in the snow, to China where he comes face-to-face with a golden dragon, to an Indian palace built upon an elephant’s back and filled with glittering animal jewellery, before jumping to the wings of and identical replica of the airplane built by Alberto Santos-Dumont, to showcase the classic Cartier Santos watch. The panther finally lands in Paris, the birthplace of Cartier, on Place Vendôme where he meets supermodel Shalom Harlow at the Grand Palais.

L’Odyssée was directed by Bruno Aveillan. He was supported by a crew of 60 on location, with a further team of 50 special effects technicians working on the post-production for six months. The music score was composed by Pierre Adenot.

The heroine of this short film is the panther, the icon of Cartier since 1914. The emblematic creature goes on an imaginary trip, between dream and reality, leaving its mark on the continents that have enriched Cartier style.

Credits:

Client: Cartier

Agency: Marcel

Director: Bruno Aveillan

Production: Quad

Special Effects: Digital District

Music: Pierre Adenot

Panther tamer: Thierry Le Portier

More about the film here

“We are extremely excited to announce the highly anticipated follow-up to our EOS 5D Mark II, a camera which has been called a ‘game-changer’ in most professional photography and videography circles. The EOS 5D Mark III will carry on that tradition, delivering better and more advanced features, helping our customers achieve excellent image quality for stills and video,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

The EOS 5D Mark III inherits many features from Canon’s recently announced flagship DSLR, the EOS-1D X, including a DIGIC 5+ Imaging Processor and a high-performance 61-point High Density Reticular AF array with up to 41 cross-type points and five dual cross-type points available, depending on the lens in use. The enhanced processing power enables fast continuous shooting of up to six fps, exceeding the speed of the EOS 5D Mark II model by more than 50 percent, and with improved weather resistance the EOS 5D Mark III is a serious option for sports and wildlife photographers.

EOS 5D Mark III Video: The Legacy Continues

The EOS 5D Mark II blazed the trail for EOS cameras and Canon to enter the professional video and cinema markets, paving the way for Canon’s recent introduction of the Cinema EOS system of cameras and lenses. Now, the EOS 5D Mark III continues Canon’s commitment to these new markets with new and requested features from cinematographers, television production professionals and independent filmmakers. This new model captures 1080p Full HD video at 24p (23.976), 25p, and 30p (29.97) fps; 720p HD recording at 60 (59.94) and 50 fps; and SD recording at 30 (29.97) and 25 fps, giving cinematographers and videographers more flexibility and options for video capture.

The EOS 5D Mark III includes new H.264 video compression formats to simplify and speed up post-production work: intraframe (ALL-I) compression for an editing-friendly format and interframe (IPB) compression for superior data storage efficiency, giving professionals options to help achieve their ideal workflow. Like the EOS-1D X, the 5D Mark III also includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing video footage from multiple cameras and separate audio recordings to be synced together in post production.

The new full-frame CMOS sensor and DIGIC 5+ processor have enhanced the camera’s image processing performance over the 5D Mark II, significantly reducing moir‚ and color artifacts in scenes with horizontal lines. The video footage produced will exhibit less moir‚ than seen in previous DSLR models, resulting in a significant improvement in HD video quality. Accommodating documentary filmmakers, and event videographers using EOS DSLR cameras, the 5D Mark III includes the ability to record video continuously up to 29 minutes and 59 seconds across multiple 4GB files. Long-form filmmakers will enjoy the camera’s automatic file splitting in combination with the extended memory capacity offered by dual card slots.

The Canon EOS 5D Mark III also includes manual audio level control with 64 levels, adjustable both before and during movie recording. There is also an automatic audio level setting, or sound recording can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input. Notably, the EOS 5D Mark III is the first EOS Digital SLR to feature a built-in headphone jack for real-time audio monitoring during video capture.

Newly Developed Canon CMOS Sensor

With its completely new 22.3-megapixel full-frame Canon CMOS image sensor, the EOS 5D Mark III becomes the highest resolution Canon Digital SLR released to date. It is eminently suitable for a wide variety of assignments including weddings and portraits, nature and wildlife, travel and landscapes as well as commercial and industrial photography. With a gapless microlens design, a new photodiode structure and improved on-chip noise reduction, the new sensor achieves higher sensitivity and lower noise levels for both RAW image data as well as in-camera JPEGs and EOS Movies compared to the 5D Mark II. The result is outstanding image quality in all shooting conditions, even low light. An eight-channel readout doubles the speed of image data throughput from the sensor to the DIGIC 5+ processor, resulting in better video image quality as well as six fps for still photos.

The low-light capability of the EOS 5D Mark III is evident in its incredible ISO range and image quality in poor lighting conditions. Adjustable from ISO 100 to 25,600 within its standard range, the new model also offers a low ISO 50 setting for studio and landscape photography and two extended ISO settings of 51,200 and 102,400, well suited for law enforcement, government or forensic field applications.

The new 5D Mark III is also equipped with Canon’s EOS Integrated Cleaning System, featuring a Self Cleaning Sensor Unit with a fluorine coating that repels dust and dirt particles.

Canon-Exclusive DIGIC 5+ Imaging Processor

The EOS 5D Mark III’s new DIGIC 5+ Imaging Processor is 17 times faster than the DIGIC 4.The EOS 5D Mark III uses that extra speed not only for improved image quality, but also to add no less than nine new features that do not exist on the 5D Mark II. These new features include six fps continuous shooting, HDR and Multiple Exposure modes, in-camera RAW processing, a comparative playback function, Scene Intelligent Auto mode, two forms of movie compression, and support for high-speed UDMA 7 Compact Flash memory cards.

Another extremely valuable feature enhanced by the DIGIC 5+ Imaging Processor is the EOS 5D Mark III’s choice of reduced resolution M-RAW (10.5 megapixel) and S-RAW (5.5 megapixel) recording modes. These settings are particularly useful to wedding photographers for candid photos that do not require the EOS 5D Mark III’s 22 megapixel full resolution, because they take up less space on the memory cards and speed up post-processing without losing the critical benefits of RAW image data, such as highlight and shadow control as well as white balance adjustment. M-RAW and S-RAW also preserve the full field of view rather than cropping the image or resorting to JPEG mode to reduce resolution.

High-Performance 61-Point High Density Reticular AF

For still photographers, Canon has included its new 61-point High Density Reticular AF System, originally introduced with the top-of-the-line EOS-1D X professional camera. A significant advancement over previous 5D-series AF systems, the new 61-Point High Density Reticular AF included in the EOS 5D Mark III is the most sophisticated SLR AF system Canon has ever released. All 61 points are manually selectable and sensitive to horizontal contrast with maximum apertures larger than or equal to f/5.6. The camera’s twenty one focusing points in the central area are also standard precision cross-type and effective with maximum apertures larger than or equal to f/5.6. The center five points are ultra-high-precision diagonal cross-type points for maximum apertures larger than or equal to f/2.8. The 20 outer focusing points function as high-precision cross-type points with maximum apertures larger than or equal to f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low-light sensitivity to EV -2, and greater low-contrast subject detection capability compared to earlier EOS AF systems. (See image below for AF point configuration)

All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

The EOS 5D Mark III uses the same high-performance AI Servo III AF tracking algorithm as the flagship EOS-1D X professional DSLR. This new feature works together with the 61-point High Density Reticular AF system to provide superb tracking performance that blends very well with the new camera’s 6 frames-per-second high-speed continuous shooting capabilities.

Similar to the AF point selection options offered in the EOS 7D and EOS-1D X camera models, the EOS 5D Mark III offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection.

iFCL Metering

Complementing the EOS 5D Mark III camera’s 61-point AF system is Canon’s 63-zone iFCL dual layer metering system. The ‘FCL’ stands for ‘Focus, Color and Luminance,’ and references the fact that the metering system not only measures color and luminance data, but also analyzes the data provided by each point of the AF system. Canon’s iFCL metering keeps exposure levels stable from shot to shot, even as the light source changes. The camera’s autofocus information is also used to help determine which area of the scene is of greatest importance in determining exposure.

HDR Mode

The EOS 5D Mark III camera features a built-in HDR mode, merging three images at various exposure levels into a single image, in-camera, for stunning photographs of landscapes and architecture with enhanced tonal gradation beyond the range of the naked eye. The exposure levels in the camera’s HDR mode can be set to cover a range of up to ñ3 stops, in a choice of five settings: Natural, Art Standard, Art Vivid, Art Bold and Art Embossed providing unique visual effects. Individual source images can be saved as separate files, and the HDR mode has an optional automatic alignment function that can be useful for hand-held shooting. The EOS 5D Mark III’s standard Auto Exposure Bracketing function has been upgraded to allow for up to seven exposures per sequence, and exposure compensation can now be set for up to +/- 5EV.

Multiple Exposure Mode

The EOS 5D Mark III is the second EOS Digital SLR after the EOS-1D X to feature Multiple Exposure capabilities with the ability to combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera’s LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS 5D Mark III camera’s Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image, or shoot continuously when photographing moving subjects.

Comparative Playback

A new feature seen for the first time in the EOS System on the 5D Mark III is Comparative Playback allowing photographers to display two images side by side on the camera’s 3.2-inch LCD screen. The images can be displayed with a histogram to check exposure levels, or magnified to check for focus or facial expressions.
Durability, Reliability and Other Features

The EOS 5D Mark III features a rugged camera body with magnesium alloy body covers and a stainless steel lens mount. The new camera also has dust- and moisture-resistant design with improved gaskets and seals. Although not quite as weatherproof as an EOS-1D-series camera, the EOS 5D Mark III does feature improved weather resistance over the EOS 5D Mark II model. The EOS 5D Mark III’s newly developed shutter unit has a durability rating of 150,000 exposures, and shutter release lag time has been reduced to 59 milliseconds, making the shutter button very responsive. Canon’s locking mode dial is standard on the new model and a new custom function allows photographers to shut off other dials to prevent inadvertent operation.

The EOS 5D Mark III uses the same LP-E6 lithium-ion battery pack as other popular EOS cameras like the 5D Mark II, 7D and 60D. Battery life is estimated at 950 exposures at normal temperatures, an improvement of 100 exposures more than the EOS 5D Mark II. The EOS 5D Mark III body weighs approximately 33.5 oz. with a battery installed, and the dimensions are approximately 6.0 x 4.6 x 3.0 inches.

The EOS 5D Mark III incorporates Silent shooting modes, available for low-speed continuous shooting as well as single exposures. This feature is ideal when photographing in quiet environments. For better file management especially when working with multiple cameras, the new model also supports custom file names. There is also a new image rating feature that lets photographers rank their photos from 1 to 5 stars for quick editing.

The EOS 5D Mark III features a 3.2-inch Clear View II LCD screen with 1,040,000 dot resolution. This is the same screen that’s used in the top-of-the-line EOS-1D X. The camera’s optical viewfinder has been upgraded to approximately 100 percent coverage, and it features an Intelligent Viewfinder display with an optional grid on demand. The EOS 5D Mark III also has a built-in Dual Axis Electronic Level that can be displayed on both the LCD screen and the optical viewfinder.

The EOS 5D Mark III accepts both Compact Flash Type 1 and SD/SDHC/SDXC memory cards in a dual card slot configuration. Three recording methods are supported: Record the same data to both cards, record different file sizes or types to each card, or automatically switch to the second card when the first card is full.

Accessories

The EOS 5D Mark III DSLR also has a number of new optional accessories, including the new Canon Wireless File Transmitter WFT-E7A featuring wireless LAN support for 802.11 a/b/g/n signal protocols for various network environments. The WFT-E7A connects to the camera through its USB port and includes a built-in gigabit Ethernet connection, time syncing for multiple cameras on the same network, FTP mode, EOS Utility mode, WFT Server mode and Media Server mode. With this new WFT model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS 5D Mark III also has an optional Canon GPS Receiver GP-E2, which can be connected to the camera via the accessory shoe or a USB cable. With a GPS logging function built-in, the GP-E2 will log latitude, longitude, elevation, and the Universal Time Code – and allow viewing of camera movement on a PC after shooting. With its built-in compass, the GP-E2 receiver will also record camera direction when shooting, even when shooting vertically. The Canon GPS Receiver GP-E2 is compatible with the EOS-1D X and EOS 7Di as well as the EOS 5D Mark III.ii

Battery Grip BG-E11 is an optional accessory for the EOS 5D Mark III that accepts one or two LP-E6 lithium-ion battery packs or a set of six AA-size batteries. This new grip has a multicontroller and a multifunction (M.Fn) button together a with a full set of grip controls for easy operation when shooting portraits or other vertical format photos. The BG-E11 is made from sturdy magnesium alloy and has the same degree of weather resistance as the EOS 5D Mark III.

Speedlite 600EX-RT

In addition to the EOS 5D Mark III, Canon is also announcing the first professional Speedlite on the market with a built-in wireless radio transmitter, the new Speedlite 600EX-RT. The new Canon Speedlite 600EX-RT is the flagship model in the Speedlite line, ideal for wedding portrait and photojournalism. Compatible with all EOS Digital SLRs, this new model eliminates the need for accessory radio slave units and their inherent limitations. Speedlite 600EX-RT features Master-Slave two-way transmission, letting the photographer control the Speedlite settings directly from the “Master” camera.

Radio-based Wireless E-TTL can be performed with up to 15 Speedlite 600EX-RT “slave units”, used off-camera up to 98.4 feet (30m) away, and triggered by either a “Master” 600EX-RT on-camera, or the optional new Speedlite Transmitter ST-E3-RT. Used with the EOS 5D Mark III or EOS-1D X, up to five groups of flashes can be completely controlled, independently, off-camera. And, it remains fully compatible with Canon’s legacy optical-based Wireless E-TTL technology, for users already committed to existing EOS Speedlites. The Speedlite features enhanced weather-resistant construction – matching that of the EOS-1D X camera body – and a more reliable electrical contact. The flash head zoom range now reaches from 20mm to 200mm.The Speedlite also allows remote shutter release of a single EOS camera, or Linked Shooting (simultaneous firing of up to 15 cameras, when one “Master” camera is fired), and includes gelatin filters and a dedicated filter holder to help photographers match ambient light.

Speedlite Transmitter ST-E3-RT

Canon is also introducing the new Speedlite Transmitter ST-E3-RT. Providing full support of Canon’s new radio-based wireless flash technology, the new ST-E3-RT can control up to five groups of flashes, up to 98.4 feet (30m) from the camera.

The remote shutter release capability enables photographers to either fire a single camera remotely (by pressing a button on the ST-E3-RT), or to fire up to 15 EOS cameras with Canon’s Linked Shooting feature. Making it easy to control and adjust, all of the Speedlite Transmitter features are accessible through the Flash control menu of the EOS-1D X and EOS 5D Mark III cameras.

Pricing and Availability

The Canon EOS 5D Mark III Digital SLR camera is expected to be available at the end of March 2012 and will be sold in a body-only configuration at an estimated retail price of $3,499.00. The EOS 5D Mark III will also be available with the EF24-105mm f/4L IS USM zoom lens in a kit for an estimated retail price of $4,299.00. The Wireless File Transmitter WFT-E7A is scheduled to be available by the end of April 2012 at an estimated retail price of $849.99. Availability for GPS Receiver GP-E2 is expected by the end of April 2012, with an estimated retail price of $390.00.Battery Grip BG-E11 is scheduled to be available at the end of April 2012 for an estimated retail price of $490.00. The Speedlite 600EX-RT and Speedlite Transmitter ST-E3-RT are also scheduled for end of March 2012 availability at estimated retail prices of $629.99 and $470.00 respectively.

About Canon U.S.A., Inc.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in patent holdings in the U.S. in 2011†, and is one of Fortune Magazine’s World’s Most Admired Companies in 2011. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.