The mission called Red Bull Stratos, will attempt to transcend human limits that have existed for 50 years. Supported by a team of experts Felix Baumgartner plans to ascend to 120,000 feet in a stratospheric balloon and make a freefall jump rushing toward earth at supersonic speeds before parachuting to the ground. His attempt to dare atmospheric limits holds the potential to provide valuable medical and scientific research data for future pioneers.

Felix consistently challenges his personal limits while pushing the physical boundaries of human flight. In 2003, Felix completed an unprecedented flight across the English Channel with a carbon wing, and subsequently began to consider an even bigger goal: the supersonic freefall. With a team of the world’s top scientists, engineers and doctors behind him, Felix will attempt to rewrite history and advance aeronautical research with Red Bull Stratos.

“On a mission like this, you need to be mentally fit and have total control over what you do, and I’m preparing very thoroughly.”

Covered from takeoff to touchdown by more than 35 cameras in the air and on the ground, the live online broadcast will provide a firsthand experience of the entire mission (weather permitting).

You can watch the live broadcast starting in three hours here: http://www.redbullstratos.com/live/

About Felix Baumgartner

Born in Salzburg, Austria in 1969, Felix began skydiving at the age of 16 and polished his skills as part of the Austrian military’s demonstration and competition team. In 1988, he began performing skydiving exhibitions for Red Bull. The company’s out-of-the-box thinking and Felix’s adventurous spirit clicked, and they’ve collaborated ever since.

By the 1990s, Felix felt that he’d gone as far as he could with traditional skydiving, so he extended his canopy skills with BASE jumping – parachuting from a fixed object or landform. He finds that the lightning-fast reflexes and precise techniques required by such low-altitude feats also enhance his high-altitude skydiving technique.

Felix has made world-record BASE jumps and has been nominated for a World Sports Award and two categories in the NEA Extreme Sports Awards. He is also a prominent advocate for the nonprofit Wings for Life Spinal Cord Research Foundation. And, while he acknowledges that the Red Bull Stratos mission is a step into the unknown, his determination to reach the edge of space and break the speed of sound is unshakable. “If Red Bull Stratos is successful, we can share data that hasn’t been available ever before,” Felix states. “I would be proud to be able to make such a contribution.”

Steven Spielberg

The patriarch of modern blockbuster cinema, Spielberg is known for backing (and even inciting) the latest technological advances that move cinema forward. Except for the actual medium he utilizes, it seems. He has continued to shoot on film stock for his last several films (minus The Adventures of Tintin, his animated co-venture with digital enthusiast Peter Jackson), and states that he will continue to shoot until the last film-lab closes (which he has desperately noted could be within the next 10 years).

Woody Allen
Woody Allen is also meeting the digital revolution with incredible resistance. Just as with the rest of his canon, his most recent film, To Rome With Love, was shot entirely on 35mm. When interviewed by Huffington Post about her experience on working with Allen, the film’s co-star, Greta Gerwig, spoke in admiration of the medium: “It might be the last time I ever get to shoot on film. Nothing is shot on film. Really, nothing is shot on film anymore. I met with a director who said, ‘There’s no reason to shoot on film anymore. It would be like having a television with the big back. You don’t need it.’… It made me feel like I was in the studio system. It was super cool.” Certainly, Allen still grounds himself in the cinematic authenticity of using film.

Sofia Coppola
Although her father, Francis Ford Coppola, has not maintained Allen and Spielberg’s reluctance to give into the newer technologies, Sofia Coppola embraces the purist nature of shooting on celluloid. Having been raised in the Hollywood system likely has had its influence on the more traditional methods of lighting and photography, and it shows in her films. All of her features are shot on film. Interestingly, her only credit as cinematographer is pure video: a mockumentary of the dance troupe from her former husband Spike Jones’ music video Praise You.

Oliver Stone
Oliver Stone is rampantly seeking film stock for each of his films under the burgeoning foothold of digital. As he pauses for several years between each of his more recent features, it has become increasingly difficult to secure the dying format. Coupled with Stone’s knack for using several types of film stocks and sizes within various scenes in each of his movies, he fights desperately to avoid an inevitable artistic dilemma. Surprisingly, he remains enthusiastic about what digital projection holds for the future of film, but insists that the contrast and brightness of film remains superior to even the latest in digital cinematography.

Christopher Nolan
Perhaps the most popular example of celluloid enthusiasts is one of Hollywood’s newest champions, Christopher Nolan. Having chosen University College London specifically for its filmmaking facilities (which consisted of a Steenbeck reel-to-reel editing bay and two 16mm cameras), Nolan studied English but developed a direct love of the (relatively) vintage film making techniques. He has shot multiple films with scenes on 65mm IMAX, which has only recently been threatened by the announcement of a new 3D digital IMAX camera. However, Nolan’s Batman series has inspired the makers of IMAX to continue to embrace the celluloid medium, as IMAX president Mark Welton states: “Both Chris Nolan and IMAX thought it was a great idea to have as many film-based screens as possible to take advantage of this powerful presentation. So we worked with another partner on developing a rail system that allows us to move the film-based equipment in and out again if there’s a digital-only release.”
Although most true film buffs and filmmakers alike can agree that film still produces warmer, richer tones and feel, it seems inevitable that the industry as a whole is moving forward into digital. Even Kodak (the originator of digital photography) and Panavision have changed their business plan to focus on new, evolving digital divisions. Those directors who choose to stay with film do so because it is a treasured medium, an element that is becoming too costly and impractical to contend with changing times, but one that has its roots deeply engrained in the process and tradition of a beloved art form.

Guest post by Zack Mandell
Zack Mandell is a movie enthusiast and owner of Movieroomreviews.com and writer of movie reviews about movies such as The Adventures of Tintin. He writes extensively about the movie industry for sites such as Gossip Center, Yahoo, NowPublic, and Helium.

The Aquatica Team is proud to introduce you to the Aquatica A5D Mk III housing for the acclaimed Canon 5D Mk III. Our Design team has upped the game with this recently released camera. New features have been added to this housing to improve operation and compatibility, but importantly, this precision housing is the product of a very time proven lineage of underwater camera housing. 30 years of knowledge in this field has made sure that every aspect of the housing ergonomics and access to all controls were carefully implemented. The final result of this camera housing mirrors the constant evolution of technology and the input of highly respected professionals image makers from around the world.

The Aquatica A5D Mk III housing still benefits from the finest material available in the industry. Carefully crafted from a selected alloy of aircraft grade aluminum and premium grade of stainless steel, the housing is machined on the latest 5 axis computer assisted machines. It is then protected by anodizing to North American military specification for further protection, Aquatica provides corrosion inhibiting zinc anodes as standard equipment and coats their housing with a baked on, tough as nail, powder coating. This extra level of protection does make a huge difference as can be seen on some Aquatica housings that even with over 1,500 dive on them, still look as fresh as the day they came out of the box. This housing is made for the hard working professional in mind, one who truly understands reliability in the field.

We introduced on this housing a newly designed camera tray; it smoothly and precisely positions the camera in the housing and is easily disengaged by a simple push on a tab. The zoom actuating pinion gear and the lens release lever pull out to allow the user to remove the camera from the back while keeping a lens and zoom gear attached.

Additional bulkheads pass through access holes have been added (bringing the total to three) to allow uses of potential accessories such as an external monitor, triggering device and/or sound recording accessories. Given the immense impact of its predecessor, the Aquatica 5D Mk II, had on the underwater video industry, it was deemed absolutely important that this new housing be optimized even more for this task, all video controls where redesigned for easier reach and smoother operation, without sacrificing nothing to the still image side of the housing operation.

The AF-ON & star button access is now provided with a rotating collar that prevents ambient pressure from pushing it back toward the housing. Menus buttons have been angled to provide better access from your left hand. A new gear system with a smaller housing pinion gear and larger lens gear results in smoother action while zooming in a video sequence.

The A5D Mk III housing was made as small as a it could be, nevertheless its lightness in weight should not be taken for a weakness. This housing still has the same standard 90m/300ft depth rating and can still be upgraded to 130m/425ft. Its knurled knobs and oversized controls mean easy operation no matter what the situation is. Being built in Canada means that every Aquatica housing is born and bred in one of the world most rugged diving environment. Bottom line, if it works in our local conditions, it will work everywhere else!

Handling is still via molded grips, they have been the reference in comfort for the last 25 years. Theses lightweight yet sturdy grip handles are made of one piece and cannot come unglued, fall apart or corrode. Both grips are provided with mounting holes ready to accept the most current strobes and their supporting arms. The housing has an extra mounting point for a focus/video light or other accessories on top and 3 additional mounting points are provided under for various brackets, support or tripods.
Bulkhead strobe connectors have also evolved, with six active pins bulkhead giving access to TTL flash exposure via currently available third party TTL converters. They are now user serviceable and replacing them is done quickly without requiring the need for any special tool, in a matter of minutes. Again, these improvements were implemented with the working professional in mind, reliability and user’s friendly field maintenance being the key word here.

On the right is a view of the office end on the new Aquatica A5D Mk III, clearly showing the serious nature of this housing. On the left hand, the buttons and mode selector control are angled and positioned for quicker access to the various functions. On the right hand the record button has been relocated closer to your thumb and not only has it been oversized but is now clearly identified with a bright red coating. The Live View toggle remains within easy reach and the SET button has also been oversized. The multi controller pad found on the Canon 5D Mk III is now made accessible. All push buttons are of high quality Type 304 stainless steel, the same used in the aerospace industry; these will not break or rust. Their smooth operation and position gives the photographer a very intuitive and normal feel to the housing.

The Aquatica A5D Mk III is supplied with our Galileo type eye piece. This high quality and coated optical finder gives a bright and full view of the view finder. For those seeking the ultimate in viewing for still image, the optional Aqua View Finder, available in straight and 45 degrees version, are among the best of the industry, they can easily be installed in a matter of a few minutes by the user. The enlarged and enhanced image provided by the Aqua View Finder is second to none in clarity, It provides the photographer with tack sharp corner to corner viewing of the camera view finder for composing and critical focusing

Shown on this photo and ready to go to work, is the Aquatica A5D Mk III with the 9.25” Megadome, state-of-the- art BK-7 coated glass dome, it is attached to our unique extension ring with manual focus capability, this extension is available for both the Canon EF 16-35mm f/2.8L USM Type II and the EF 17-40mm f/4L USM, Two serious candidates for the video shooter and for which manual focus access is vital, manual focusing with prime lens focusing can be done using the controls knob on the upper left side of the housing.

The A5D Mk III is supported by one of the most established and comprehensive port and accessories system of the industry. The Canon 5D Mk III is destined, much like its predecessor, the 5D Mk II, for a life of multi tasking role. This previous A5D Mk II is still being used by many of the major television underwater documentary production; it has been embraced by scores of top image makers in the world whose work can be seen weekly on network television, advertising work and movie productions.
This philosophy that made the Canon 5D Mk II and its Aquatica housing so popular has not been lost on this newer version! Every effort was made to give you an underwater imaging system that can be tailored to your needs.

The Aquatica A5D Mk III is a very compact and lightweight housing tipping the scale at just:

Dimension: (with grip attached) W 35cm x H 19.5cm x D14.5cm / W 13.78” x H 7.65” x D 5.72” Dimension (without grip) 23cm x H 19.5cm x D14.5cm / W 9.06” x H 7.65” x D 5.72”

Priced at just 3,199.00 USD, it is the most economical and best designed of its category.

For more information, please contact Aquatica at info@aquatica.ca

Cypress, California, May 22, 2012

FOR-A Company Limited, a leading manufacturer of video and audio systems for the broadcast and professional video industries, will debut the FT-ONE full 4K high resolution variable frame rate camera—the world’s first full 4K super slow motion camera—Booth S320 at Cine Gear Expo, which runs from June 1-2 at The Studios @ Paramount in Hollywood. Now in its 16th year, Cine Gear Expo is the premier film, video, and digital media expo for the entertainment industry.

Harnessing the power of a state-of-the-art, FOR-A originally developed, high-sensitivity CMOS color sensor “FT1-CMOS”, the FT-ONE records and plays back full 4K (4096 x 2160) film look imagery. To achieve its full 4K super slow motion (“super slomo”) capabilities, the FT-ONE will record up to 1,000 frames per second.

Images are captured as uncompressed raw data on the system’s internal (RAM) memory, which has a recording capacity of 8.5 seconds. This data is then stored on one of two hot-swappable SSD cartridges. Each cartridge is capable of storing 75 seconds of full 4K resolution images, enabling up to 150 seconds with a maximum of two SSD cartridges.

The FT-ONE is capable of simultaneously recording and playing back in full 4K resolution. At the user’s preference, one output channel can provide either full 4K output, or four 1080p HD-SDI outputs; while the other output channel provides down-converted HD-SDI for live viewing and the control menu.

“While digital cinematography has been widely adopted within the motion picture production and post production communities, there has been a technology gap—the ability to record super slow motion image at full 4K resolution,” said Hiro Tanoue, President for FOR-A Corporation of America.
“The new FT-ONE completes the 4K workflow by introducing this ability, with the high-level performance this application demands. We chose Cine Gear Expo as the venue for our breakthrough announcement since this event draws key decision makers and creatives seeking the latest solutions for high-end entertainment production. With the FT-ONE camera rolling, they can rest assured they won’t miss that critical action shot.”

The FT-ONE camera uses a PL mount lens and the global shutter system makes the FT-ONE free from the picture distortion caused by the rolling shutter system. The FT-ONE is designed as a self-contained unit that is dependable and easy to use. It weights 7 kg in a size of 235 mm (W) x 294 mm (H) x 384 mm (D).

About FOR-A

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, post-production and professional video markets. For more information about FOR-A’s product line, call 714-894-3311 or visit www.for-a.com.

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