ChungMedia

PhotoPlus Expo: Defy shows new G2x gimbal for mirrorless cameras

By Contributing Editor Chuck Fadely

Defy was showing a new, unannounced addition to their line of gimbals: the G2x.  It has a payload of 3 lbs, supports small dslr’s and mirrorless cameras like the Sony A7 and Panasonic GH4,  and is easier to balance than their G2 gimbal. It works inverted without adjustment.

It folds flat for transport without having to readjust, and the handles double as a stand. It includes a throttle for pan and tilt and batteries.

It will sell for $2495 from Defy.

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Posted on November 1st, 2014 by Chuck Fadely | Category: Uncategorized | Permalink | Comments (0)

PhotoPlus Expo: Think Tank Photo announces new Perception bags for mirrorless cameras

By Contributing Editor Chuck Fadely

Mirrorless cameras are hot at the 2014 PhotoPlus Expo show.  Think Tank Photo was showing new backpacks made specifically for smaller mirrorless camera systems like the Sony A7 and Panasonic GH4 during PhotoPlus Expo in New York.  The Perception Series is described as the love child of the Shape Shifter and StreetWalker backpacks, with pouches inside to hold bodies and lenses.

Prices are from $130-$180 in black or tan and ship next month.

 

The Think Tank Photo release:

Think Tank Releases Six Perception™ Premier Daypacks

Designed Specifically for Mirrorless Systems

SANTA ROSA, CALIF. – Think Tank Photo introduced its smallest, lightest backpacks, the Perception™ series.  Designed specifically for mirrorless systems, the Perception series will become the “go-to” pack for photographers looking to add flexibility to their workflow while using a smaller system along with a laptop and tablet. It’s an all-new and advantageous way to carry smaller camera systems and is ideal for travel and city walk-arounds.

The Perception series comes in two colors, black and taupe, and three sizes.  The smallest size, The Perception Tablet™, accommodates a mirrorless system and an iPad Mini. The largest size, the Perception Pro™, holds a 15″ laptop and a 10″ tablet, plus one mirrorless body or small DSLR with a small to medium zoom attached (lens hood reversed).  Plus, the largest size fits four to five more lenses or a large GoPro® kit.

“Our designers took inspiration from Think Tank’s award-wining and popular Shape Shifter backpack, which includes protective features to enclose and secure camera gear, but with the Perceptions it is scaled to a smaller form factor,” said Think Tank Photo’s CEO and lead designer Doug Murdoch.  “For the first time mirrorless system users have a backpack designed specifically for them that has Think Tank’s commitment to innovation, workflow, and quality.  The fitted backpack straps accommodate either male or female body types.”

Key Features

  • Cinch cord pockets provide flexibility for gear.
  • Dedicated laptop/tablet compartment.
  • Interior organizer provides quick access to pens, business cards and keys.
  • Extra space to fit a jacket, food, water bottle or additional gear while on the go.
  • Breathable padded airflow harness with adjustable sternum straps.
  • Removable waist-belt.
  • Tripod-carry on the front of bag allows for access to gear even when tripod is attached.
  • Stretchable side pockets hold water bottles or compact umbrellas.
  • 600 denier twill fabric feels soft yet durable matte finish.
  • Top pocket with plush liner for smart phones.
  • Specially designed divider holds a pancake lens or small accessories.
  • Seam-sealed rain cover included.

What Fits

Perception Tablet: Mirrorless camera, iPad Mini, GPS device, smartphone, radio, headlamp, knife.  Examples:

  • Fuji XT-1 with 18–55mm f/2.8–4 attached (hood reversed) + 35mm f/1.4.
  • Canon Rebel T5i or Nikon D5300 with 18–55 kit lens attached + 50mm f/1.8.
  • GoPro Hero 3, batteries, memory cards, cables, charger, remote, etc.

Perception 15: Fits a 15” laptop + 10” tablet (iPad), plus one mirrorless body or small DSLR with a small to medium zoom attached (lens hood reversed) plus 1–2 additional lenses, or a medium GoPro kit.  Examples:

  • Sony a7 with a 28–70mm f/3.5–5.6 attached (hood reversed) + 55mm f/1.8 ZA.
  • Canon Rebel T5i or Nikon D5300 with 18–55 kit lens attached + 55–250 f/4–5.6 (or 55–200).
  • 1–2 GoPro Hero 3, extra housing, mounts, batteries, memory cards, cables, charger, remote.

Perception Pro: Fits a 15” laptop + 10” tablet (iPad), plus one mirrorless body or small DSLR with a small to medium zoom attached (lens hood reversed), plus 4–5 more lenses or a large GoPro kit.  Examples:

  • Sony a7 with 24–70mm f/4 ZA attached (hood reversed) + 70–200mm f/4 + 35mm f/2.8 + 55mm f/1.8 ZA + F60M flash.
  • Canon Rebel T5i or Nikon D5300 with 18–55 kit lens attached + 70–300mm f/4–5.6 + 50mm f/1.8 + 100mm (or 105mm) macro + flash.
  • 1–5 GoPro Hero 3, extra housings, mounts, batteries, memory cards, cables, charger, remote, suction cups, chesty, etc.

Materials

Exterior: For superior water-resistance, all exterior fabric has a durable water-repellent (DWR) coating, plus the underside of the fabric has a polyurethane coating. It is also constructed with 600D twill, YKK® RC zippers, 320g dry-flow air mesh, nylon webbing, and 3-ply bonded nylon thread.

Interior: Removable closed cell foam dividers, polyurethane backed liner & dividers, 200D polyester, laminated non-woven backed nylex liner, 2x polyurethane coated nylon 190T seam-sealed rain cover, and 3-ply bonded nylon thread.

Specifications

Perception Tablet:

Exterior Dimensions: 10” W x 16.3” H x 5.9” H (25.5 x 41.5 x 15 cm)

Camera & Lens Pouch: 8.3” W x 4.3” H x 4.3” D (21 x 11 x 11 cm)

Laptop/Tablet Compartment: 7.7” W x 12.6” H x 0.8” D (19.5 x 32 x 2 cm)

Smart Phone/Glasses Pocket: 5.9” W x 4.7” H x 1.6” D (15 x 12 x 4 cm

Weight with all accessories: 1.7 lbs (0.7 kg)

Perception 15:

Exterior Dimensions: 11” W x 17.5” H x 6.7” D (28 x 44.5 x 17 cm)

Main Camera Pouch: 5.9” W x 5.9” H x 3.9” D (15 x 15 x 10 cm)

Lens Pouch: 4.3” W x 3.9” H x 2.4” D (11 x 10 x 6 cm)

Laptop Compartment: 9.8” W x 16.9” H x 1.2” D (25 x 43 x 3 cm)

Tablet Compartment: 8.7” W x 10.6” H x 0.6” D (22 x 27 x 1.5 cm)

Smart Phone/Glasses Pocket: 6.3” W x 4.7” H x 1.6” D (16 x 12 x 4 cm

Weight with all accessories: 2.2 lbs (1.0 kg)

Perception Pro:

Exterior Dimensions: 11.4” W x 18.9” H x 7.9” D (29 x 48 x 20 cm)

Main Camera Pouch: 5.9” W x 5.9” H x 3.9” D (15 x 15 x 10 cm)

Large Lens Pouch: 5.9” W x 7.5” H x 3.9” D (15 x 19 x 10 cm)

Medium Lens Pouches: (2): 4.9” W x 4.3” H x 2.4” D (12.5 x 11 x 6 cm)

Small Lens Pouch: 4.9” W x 3.5” H x 2.4” D (12.5 x 9 x 6 cm)

Laptop Compartment: 10.4” W x 17.3” H x 1.2” D (26.5 x 44 x 3 cm)

Tablet Compartment: 8.7” W x 11” H x 0.6” D (22 x 28 x 1.5 cm)

Smart Phone/Glasses Pocket: 6.3” W x 4.7” H x 1.6” D (16 x 12 x 4 cm)

Weight with all accessories: 2.9 lbs (1.3 kg)

Posted on October 31st, 2014 by Chuck Fadely | Category: Camera bags, PhotoPlus Expo | Permalink | Comments (0)

PhotoPlus Expo: First look at Canon C100 Mark II

By Contributing Editor Chuck Fadely

We got our first look at the new C100 Mark II, an update to the immensely popular Canon C100 cinema camera.

The new viewfinder, lifted from the C500, is great. The viewfinder now works if you wear glasses and the image is big and bright enough to really use.  The LCD screen now pivots around so you can see it from the side of the camera during interviews, and will flip so it faces forward if you need to do a standup in front of the camera. Face-tracking autofocus will make those standups look sharp.

The DIGIC 4 processor adds 1080/60P that the original C100 lacked (but no 4K); is supposed to give clean images up to 100K iso, and also allows you to downconvert footage from one card to the other, during or after a shoot.  This is a feature I use all the time on the Canon XA25 to be able to send clips over a cell connection and is really valuable.  No WiFi on the new C100, though.

They’ve added some buttons – it’s up to 17 programmable buttons now.  They’ve added a mic to the body so you can still get a scratch audio track when you take off the top handle.

It’s the same basic camera and same sensor as the original C100 but the viewfinder alone makes it a tempting upgrade. That viewfinder and the more flexible LCD make this much better suited to run-n-gun shooting and one-man-band interviews than its predecessor.

The camera will ship in December at $5499.

In the video above, Chuck Westfall from Canon USA walks us through the new features.  The official Canon info is in our previous post.

 

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Posted on October 31st, 2014 by Chuck Fadely | Category: Canon C100, PhotoPlus Expo | Permalink | Comments (0)

PhotoPlus Expo: Sony launches professional service program in U.S.

By Contributing Editor Chuck Fadely:

Sony just launched their Imaging PRO Support Program for the U.S. at PhotoPlus Expo in New York.  This is a service and repair program for professionals using their stills cameras.  Like Canon and Nikon, Sony will now provide expedited repairs, loaner gear, and support for working pros in the U.S.

The invitation-only program costs $100 a year and requires ownership of at least two full-frame bodies and at least three Sony Zeiss or G Series lenses, as well as proof of professional status.

The U.S. pro service program joins previously-announced programs in parts of Asia and will be joined in 2015 by a program in Europe.

You can see the Sony info here:  https://esupport.sony.com/info/1523/US/EN

Posted on October 31st, 2014 by Chuck Fadely | Category: PhotoPlus Expo, Sony, Sony A7, Sony a7S, Sony DSLR | Permalink | Comments (0)

Mobile videojournalism: Japhet Weeks shoots NYC Climate march protests on iPhone for AJ+

Guest post by Japhet Weeks of AJ+:

The iPhone setup in use

The iPhone setup in use

AJ+, the new digital oriented news outlet from Al Jazeera media network, were at the People’s Climate march in Manhattan recently shooting entirely with mobile devices. We also covered the Flood Wall Street protest and UN Climate Summit the same week and I believe we were the only news organization to use all mobile coverage from the events.

Here is the gear I used:

3x Apple iPhone 5/5s. Each phone had a different carrier: Verizon, AT&T, and T-Mobile
Manfrotto monopod
Small Rode shotgun mic for input into camera to capture ambient sound.
Audio Technica wired lav mic for interviews.
On board iKan LED light for indoor interviews and night time shooting.
Housing for iPhone with wide-angle lens adaptor – allowing the iPhone to attached to a monopod
Bracket for mounting a Rode VideoMic Pro shotgun mic and LED light.
Two external battery packs for the iPhones. Battery life is a problem for whole day shooting – you will need extra power.

And here are some of the results:

Audio Issues:
With this setup the biggest issue was audio. Initially I planned to use two apps to record the video – Filmic Pro and ProCam. Both allow monitoring of the audio input, but it transpired that both were too buggy to be dependable. ProCam seemed fine at first, but on playback the audio didn’t sync up with the video. Filmic Pro tended to crash. In the end I went for the native camera app, which didn’t allow audio monitoring but was more stable.

Since I wasn’t able to monitor audio, I would fire up ProCam first to test that the iPhone was recording audio through the shotgun mic or lav, then I would go back into the native camera app to record. As this method wasn’t foolproof I would quickly play back the interviews to make sure the audio quality was OK. I’m going to keep looking for better apps that allow you more control of image and especially sound.

The Audio Technica lav mic I was using performed extremely poorly in the wind even with the windshield attached.

Pictures and editing:
The size and weight of the iPhone rig and the monopod allowed me to move fast and get close to the action. This meant I got images that other journalists were simply unable to get. When the polar bear character was arrested at Flood Wall Street I was able to extend the monopod and shoot over the heads of NYPD officers. The weight and size of the phone made this possible.

Before transmitting footage, I edited it, either in the native camera app or in iMovie. This allowed for faster transmission as the bytes were smaller.

Transmitting footage:
Prior to being in NYC, I had experimented with different methods of transmitting what I shot. I tried DropBox, YouTube, Vimeo and email before finally discovering that the best method was sending via Slack’s mobile app, which allowed us to transfer uncompressed footage back to the team in SF.

To ensure the best data coverage I used three iPhones each with a different carrier. These were Verizon, T-Mobile and AT&T. I consider this essential for mobile video journalists (MoJos) because different networks work differently in different situations. So many users in one place can cause networks to overload and data rates can drop massively. For this story I found Verizon performed consistently well in New York, even in large crowds.

I was shooting and transmitting video at 1080P. Initially I thought that sending over LTE would require us to compress video to 720P, but in practice the network allowed relatively fast transfer speeds and we were able to send Full HD files. This was surprising considering the numbers at the event.

The beauty of this setup is that it allowed me to shoot and send almost in real-time. This is something that set AJ+ apart from many of the other news organisations at the Climate March and Flood Wall Street.

Conclusions:
The ability to transmit video quickly from the field also allowed us to publish moment-of, not just day-of, exclusive footage. There were activists live streaming and journalists snapping pictures on their iPhones, but AJ+ was the only news organization I saw shooting exclusively on mobile.
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Shooting on an iPhone doesn’t give you creamy, cinematic shallow depth-of-field look of DSLR, nor super zoom range of a traditional news camera, but what it does give a journalist is the ability to shoot breaking news, file quickly, and then keep shooting. The lightweight set up gives you access to things you wouldn’t be able to get with larger cameras. The rig can always be broken down and made smaller, making the camera even more unassuming.

Things aren’t prefect yet though. The iPhone needs better, more stable professional apps for shooting video that have proper audio monitoring. Hopefully this will be resolved soon enough.

The possibilities for shooting news exclusively on mobile are really exciting and the technology needs to be pushed further.

Japhet Weeks is a senior producer with AJ+ in San Francisco.
Before that he covered political turmoil as a VJ in the Middle East and Russia.

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Posted on October 31st, 2014 by Japhet Weeks | Category: IPhone, Journalism | Permalink | Comments (0)

Go Creative Show: Gone Girl DP Jeff Cronenweth talks about his cinematography

By site editor Dan Chung:

jeff cronenweth

This week our partners at the Go Creative Show feature one of my favourite DPs – Jeff Cronenweth ASC. His collaborations with director David Fincher include Fight Club,The Girl with the Dragon Tattoo, Social Network and most recently Gone Girl. His characteristic style has muted colour palette and uses of longer lenses with shallow depth of field to focus attention.

Host Ben Consoli talks to him about his career, working with Fincher and also his commercial and music video work. They also discuss the pros and cons of digital film-making.

Click below to listen in:

Posted on October 31st, 2014 by Dan Chung | Category: Go Creative show | Permalink | Comments (0)

Kesslercrane Second Shooter open for orders again – plus new Magnalink Pan Mount

By site editor Dan Chung:

Second Shooter from Kessler Crane on Vimeo.

Kesslercrane will today open orders for their second batch of the Second Shooter digital servo motion control system. It attaches to their range of sliders to give repeatable motion control for live-mode, looping, time-lapse and stop-motion. The system, that was originally known as UniDrive, can control up to three axis depending on the configuration. The difference between Second Shooter and other inexpensive systems is the use of a digital-encoded motors for more precise control and repeatability.

The Kessler Second Shooter 3-axis kit

The Kessler Second Shooter 3-axis kit

A basic single-axis kit comprising a slider motor and controller starts at $699.95 (without motor mount or slider) and moves up to $1399.90 for a three-axis system with pan and tilt head, controller and slider motor.

The live looping ability of the Second Shooter should prove very useful for interviews and can be combined with the Kessler Parallax. Once set up correctly a B-camera can then be left unattended filming a repeating parabolic move while the operator mans the A-camera.

The end result should be similar to Redrockmicro’s excellent One Man Crew. The Kessler has the advantage of being more adaptable – being able to do straight moves as well as parabolic ones, but the Redrock is a simpler setup in a single unit.

The Magnalink Pan Mount

The Magnalink Pan Mount

Also recently launched is an add-on mount that magnetically attaches the Second Shooter controller to the pan mount via the magnets. This makes the complete Second Shooter setup a bit more friendly for fast single-person operation as you can pick up the whole thing and move with it without trailing wires.

KESSLER MAG

I’ve decided to go with the Second Shooter and Parallax due to the versatility and also the fact I already own Kessler sliders that are compatible. Hopefully I’ll get it soon and be able to put it through its paces.

Head over to the Kessler website for more details.

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Posted on October 30th, 2014 by Dan Chung | Category: SIiders, Timelapse | Permalink | Comments (0)

Canon announce C100 Mark II with better EVF, 3.5” OLED rear screen, 60fps slomo and face detect Dual Pixel CMOS AF

By site editor Dan Chung:

The Canon C100 markII

The Canon C100 Mark II

Canon have today updated the popular C100 with a mark II version that has several useful feature enhancements, but no change in overall design.

The Dual Pixel CMOS AF system that was an optional upgrade to the original C100 is now included by default on the new camera. For me this is a key feature that is useful for the kind of news and documentary shooting that I do. The original C100 only autofocussed in the centre of the frame. The mark II adds the ability for the camera to track an off centre subject with face detection – but it still lacks the touch screen focus of the 70D. This to me is a real missed opportunity and its a shame that the new camera can’t do something that a cheaper DSLR can. Achieving a relatively simple focus transition for a static off-centre subject will still be almost impossible to accomplish using Dual Pixel AF with the new camera.

The camera body remains nearly identical to its predecessor and for many shooters that will be no bad thing. The biggest improvements are an improved EVF that tilts and is twice as large as the first C100 – the original EVF was universally disliked for its poor resolution and visibility. The new one should really help when using the camera handheld. The rear screen gets an upgrade to – now it is a 3.5” OLED with better resolution.

c100 rear

There are now a line of controls on the rear screen itself which should make adjustment easier. Also the OLED screen actually folds all the way around so that it sits alongside the body. This can be useful during interviews, or when mounting the camera on a shoulder rig. These improvements mean that the C100 mark II should be much better to use in the field. The upside of keeping the design similar is that most rigging and accessories for the original C100 will likely fit it you are upgrading.

Audio is similar to the original. There is an included top handle with built-in XLRs that connects to the top of the camera. Canon have also included an internal mic on the body itself – similar to most DSLRs. This is useful for scratch audio if recording externally and helps if you are trying to use the camera in a stripped down setup – for example on a brushless gimbal or Steadicam.

The sensor is unchanged. Its the same Super35 CMOS as the now industry standard C300. That means great colours and low noise at high ISO.

The styling of the C100 mark II is very familiar

The styling of the C100 mark II is very familiar

Recording is to SD cards as before, but with the addition of 59.94fps recording to MP4 for slow motion. AVCHD internal recording is still locked to 24 Mbps at 60i, 50i, 24p, 25p, PF30, and PF24 in 4:2:0.

As with the original C100 you can output clean, uncompressed 4:2:2 video with timecode via HDMI for external recording using a recorder like the Atomos Ninja Star. This essentially takes the C100 image up into the same league as the more expensive C300. The HDMI output also has the ability to show the Canon Log LUT on an external HDMI monitor or EVF – which gives a good sense of what a graded image would look like when recording Canon Log in the camera. This is useful for monitoring but only if you are recording internally to SD card.

Why Canon can’t offer higher frame rates or 4K video in a camera at this price point is puzzling to me. Panasonic and Sony have both got models that do this at similar or cheaper prices. Canon are targeting the C100 mark II at the solo shooter, so I assume they are hoping that practical usability and autofocus technology are bigger draws for users than 4K or slomo – time will tell if that’s the case.

The camera will go on sale at the end of the year with a price of $5499 US.

Here is the info from Canon:

MELVILLE, N.Y., October 21, 2014 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the Canon EOS C100 Mark II Digital Video Camera, the latest edition to the Canon Cinema EOS line of professional Super 35mm 8.3 megapixel CMOS cameras and the second-generation version of the popular Canon EOS C100 Digital Video Camera.

Designed for economical film and video productions such as documentary and remote broadcast crews, wedding and event coverage, indie film productions, as well as film schools and business and government users, the new EOS C100 Mark II Digital Video Camera, features advanced image processing, AVCHD and MP4 1920×1080/60p recording, uncompressed YCbCr output from HDMI, and many other new and enhanced capabilities for improved picture quality, operability, and convenient handling. Delivering a cinematic look with shallow depth of field and high sensitivity in low-light environments, the new EOS C100 Mark II camera weighs just 2.5 lbs. and is compatible with over 103 Canon EF Series lenses, including STM models which can deliver smooth and silent autofocus during filmmaking.

“Canon’s commitment to the advancement of tools for visual expression takes another major step forward with the introduction of the EOS C100 Mark II Digital Video Camera,” said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. “Drawing on input from Canon’s global community of Cinema EOS camera users and from digital filmmakers using Canon EF lenses – 100 million of which have now been produced worldwidei – the Company has added new capabilities to the EOS C100 Mark II from its predecessor that powerfully leverage our considerable expertise in optics, imaging, and digital signal processing. The result is an improved, affordable Super 35mm CMOS digital camera that is designed to provide outstanding HD image quality, operational performance, ergonomics, and workflow convenience.”
Design Enhancements

Optimized for one-person operation, the new EOS C100 Mark II camera has a mobile core design enabling users to choose their preferred style of shooting. The existing design has been enhanced to include a large-size detachable eyecup for the camera’s large 68-degree tilting 0.45-inch 1.23 megapixel color EVF (electronic viewfinder). Clearly marked red trigger buttons on the camera body, top handle, grip, and a built-in mono microphone on the camera body — for times when the top handle is not attached — can be used to capture basic sound for audio notation or as an aid to audio syncing during post.

Another major redesign of the new EOS C100 Mark II over its predecessor is an innovatively hinged 3.5-inch 1.23 megapixel OLED display panel, delivering 100 percent field-of-view coverage, wide color range support, and improved viewing even in bright sunshine. The new hinge design — which folds the panel shut when stowed, protecting the OLED surface — opens 180 degrees to reveal function keys and a joystick. The panel can open even further to 270 degrees to deploy against the side of the camera to provide monitoring for directors and other production personnel. Additional design improvements on the camera body include 17 assignable recessed function buttons, dual SD card slots with a transparent cover, and a simplified battery insertion and removal release.
Visual Expression

Previously available only as an optional upgrade for earlier Cinema EOS models, Dual Pixel CMOS AF is a standard feature on the new EOS C100 Mark II, providing enhanced autofocusing capability. The Dual Pixel CMOS AF technology helps provide smooth and consistent autofocus, so that focus transitions are natural looking and subjects can remain in focus even as they move off center. In addition, the compatibility of Dual Pixel CMOS AF with Canon EF autofocus lenses combines outstanding optical tools with a wide range of creative options. It’s ideal for shooting sports, weddings and many more productions where focus pulling by a single operator is not feasible, such as when the video camera is attached to steadicams or drones. The EOS C100 Mark II Digital Video Camera also includes Face-Detection AFii, a first in the Cinema EOS camera line, which utilizes contrast detection AF to maintain focus across most of the image plane, an advantage in one-person electronic news gathering (ENG) situations.
Imaging and Recording

Central to many of the new features of the new EOS C100 Mark II Digital Video Camera is its advanced Canon DIGIC DV4 image processor. The Canon DIGIC DV4 image processor separates the RGB output from the camera’s 8.3 Megapixel CMOS imager into three individual 8 megapixel signals (as opposed to 2MB in the EOS C100) for noticeably improved image quality. The Canon DIGIC DV4 processor also includes a new debayering algorithm to help minimize moir‚ and reduce video noise even at high ISO speeds. (high-sensitivity recording on the camera ranges from ISO 320 to 80,000).

Another important benefit of the Canon DIGIC DV4 processor is Full HD recording in both the high-quality professional format AVCHD or the popular web-friendly MP4 format at a variety of bit rates (up to 28 Mbps and 35 Mbps, respectively), resolutions, and frame rates (up to the smooth look of 59.94p) to suit practically any production need.iii For special-effect requirements, slow and fast motion MP4 recording at up to 1920×1080/60p can also be performed.

Users can choose from multiple formats that support MP4 or AVCHD to suit a wide variety of production, post, and output needs. The EOS C100 Mark II camera’s dual SD card slots can record in one or both formats simultaneouslyiv for back-up, or convert AVCHD and MP4 files into smaller MP4 files for web upload.v Extended clip times can be achieved by recording continuously from one card to the other without a break. In addition, a Data Import Utility application is included that can seamlessly join divided files to help reduce work during editing and to import video file data from an SD card inside the camera or a card reader.

As with the other cameras in Canon’s Cinema EOS line, the new EOS C100 Mark II Digital Video Camera includes Canon Log as a recording choice, providing maximum dynamic range for post-production color grading. New, however, is the addition of a built-in LUT (look-up table), enabling users to view the camera’s live video signal in Wide DR (dynamic range) or the BT.709 (TV standard) color space on the OLED or any external monitor connected to the camera’s locking HDMI® output (this feature can be turned off in the menu). Uncompressed video output (with time code data and 2:3 pull-down markers superimposed) can be output via HDMI to an external recorder.
Connectivity Innovations

The addition of wireless file-transfer capabilities further expands the versatility of the new EOS C100 Mark II camera for multiple production applications, including transferring time-critical news video or backing-up files. Utilizing dual 5 GHz and 2.4 GHz frequencies, the camera can transfer video files via FTP server for instant relay, or send MP4 video to the web browsers of laptops or tablets for viewing and storage (even on PC’s lacking playback software). Remote control of the camera is also enabled via a compatible smartphone, tablet, or laptop. The new EOS C100 Mark II Digital Video Camera also includes compatibility with the optional multi-functional Canon RC-V100 Remote Controller, which can be used to adjust image quality and other important operations from a distance, a handy feature for shooting from a jib arm, drone, or other inaccessible location.

In addition, the optional Canon GP-E2 EOS GPS Receiver can be connected to the EOS C100 Mark II Digital Video Camera using a USB cable to record location and time information during shooting, a helpful feature for editing and archiving.
Pricing and Availability

The Canon EOS C100 Mark II Digital Video Camera is scheduled to be available at the end of December 2014 for an estimated retail price of $5,499.00.

Posted on October 22nd, 2014 by Dan Chung | Category: Canon C100 | Permalink | Comments (4)

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