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.

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

Defy Dactylcam cable cam system moves your camera through the air at up to 40mph

By site editor Dan Chung:

DEFY DACTYLCAM : What You’ve Been Waiting For from DEFY on Vimeo.

We’ve all seen amazing cable cam shots from sports events and wildlife documentaries. Now if you have a spare $11,950 you can try and recreate them for yourself.

Defy have been working with the Dactylcam cable cam system for several months. We’ve seen teaser videos of just what the system is capable of, but the finished kit version has just gone on sale.


The line rig system comprises a Dactylcam motorised radio controlled sled that can move a camera at up to 40 mph along 600’ of premium 7,700lb Amsteel Blue line cable (with up to 1200 ft on request). Payloads of up to 50 lbs can be carried depending on the line tension. The sled self levels and dampens camera swing.

The sled is then combined with Defy’s G12 brushless gimbal to provide 3-axis control. The pair are designed so that the gimbal can be moved from handheld to line in very little time. The setup is claimed to be simple enough for solo operators.

The Dactylcam can also be purchased without the G12, to be used with other manufacturers’ brushless gimbals.

DEFY DACTYLCAM : Official Announcement from DEFY on Vimeo.

The Dactylcam cost $7950 on its own, or $11,950 in a kit with the G12 gimbal. For more details you can visit the Defy website.

Posted on October 21st, 2014 by Dan Chung | Category: Brushless gimbals | Permalink | Comments (0)

Go Creative Show: How to get good audio in the field with Kevin Parker

By site editor Dan Chung:

go creative audio

This episode the Go Creative Show concentrates on techniques for getting better sound in the field and on set. Host Ben Consoli speaks with Kevin Parker, experienced production sound mixer for feature films, television and documentaries. Some of the topics covered include proper mic placement, how to hide the lav, and other grear tips that will help you capture better sound.

In addition I talk to Ben about the latest developments in camera gear from the past couple of weeks.

Click below to listen in:

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Posted on October 21st, 2014 by Dan Chung | Category: Audio, Go Creative show | Permalink | Comments (0)

Canon announce massive CN20x50 50-1000mm Cine Servo zoom with built-in 1.5x extender

By site editor Dan Chung:

CN20x50-039 FSR

Canon today took the wraps off a phenomenally long range servo cine zoom. The CN20x50 is a whopping 50-1000mm in length natively – which can be extended with the built-in 1.5x teleconvertor to an unbelivable 75-1500mm.

It will come in EF and PL versions and is T5.0 at 50-560mm, dropping to T8.9 at the 1000mm end. Add in the extender and it drops to T7.5 and 75-840mm and T13.35 at the 1500mm end.

The lens has a close focus of 3.5m/11.5 inches and the front element is a giant 136mm – you will likely want a camera with built-in ND filters.

CN20x50-039 Right

At 413.2mm long in EF mount and 405.2mm in PL the CN20x50 it isn’t exactly hand holdable. Weight is a relatively light 6.6 kilograms, given the focal length I would have expected it to be heavier.

This is a lens that is certain to have sports and wildlife shooters drooling. With the servo unit on the side it is well suited to fast paced shooting, although a solid tripod or vehicle mount will be a must.

CN20x50-039 Left

No pricing is given yet but it is not going to be inexpensive given the specialist nature of the lens. It will probably be in the same league as a rather nice new car.

Here are the details from Canon:

Canon introduces new 4K cine-servo, ultra-telephoto lens with world’s longest focal length

United Kingdom, Republic of Ireland, 16 October 2014
– Canon today bolsters its cine servo lens line-up with the new CN20x50 – a high performance, ultra-telephoto zoom lens for sport and nature TV production. Leveraging Canon’s long-standing and unparalleled expertise in lens design, the CN20x50 delivers superb image quality and exceptional creative control, and is the first lens of its type to combine a built-in 1.5x extender, class-leading 20x magnification and a removable servo drive, with a native 50-1000mm focal range that expands to a huge 75-1500mm.

Designed to be a portable solution for broadcast productions using super 35mm cameras – whether HD, UHD or 4K – the CN20x50 is a tool of unprecedented quality, versatility and usability. Featuring a completely removable updated servo drive unit that enables an agile shooting style that’s difficult to achieve with typical cine lenses, the new cine-servo lens helps to meet growing demands for Ultra High Definition (UHD) resolution sport and nature television production.

Versatile and reliable 
With productions today expected to shoot in demanding and unpredictable environments, a huge level of lens flexibility is required. For wildlife television, operators typically work in hostile and sensitive conditions which often necessitate shooting from extremely long distances, while sports productions typically require extremely high resolution for close-to-the-action stadium work. In both situations, operators require fast, reactive positional changes, shooting flexibility and nimble hardware that allow them to respond to changes in the scene.

Weighing just 6.6kg, the CN20x50 is conveniently portable and lightweight and offers an unrivalled focal length and zooming capabilities for its class. It enables sport and documentary crews to capture footage at a distance, while maintaining the highest quality throughout the zoom range. The lens’s huge zoom range also significantly reduces the volume of hardware that crews are required to carry, offering a superb solution for location shoots.

The latest in Canon’s cine-servo lens line-up, the CN20x50 is also user-friendly and robust. The design has been developed to ensure high levels of ruggedness and reliability, even in unforgiving broadcast environments – combining the finest quality optics with a weather-and-shock-proof construction that makes it suitable for use in the most hostile conditions when on location, to the same level as conventional Canon broadcast lenses.

Flexible operability 
Compatible with a wide range of cameras, the CN20x50 also supports communication between lens and camera and will be available in both EF-mount and PL-mount variants. The EF-mount version utilises Canon’s own system, while the PL-mount variant supports Cooke’s /i Technology standard.  Both models feature a 12-pin serial connection for integration with typical broadcast equipment.

The focus ring rotation is 180 degrees, balancing the accuracy required for 4K imaging with the speed needed for broadcast use. In scenarios where every second counts – and operators only have one opportunity to capture a shot – high speed zoom, iris and simple focusing operation mean that even rapidly changing scenes can be captured with ease and accuracy.

The lens’ design supports a range of cinema and broadcast accessories including operational zoom and focus controls, matte boxes and 0.8- and 0.5-type gear module accessories such as follow focus units, to provide a truly versatile solution.

CN20x50 key benefits:
Ultra-telephoto lens with class-leading focal length
Capture every detail in sports and nature TV broadcast
Achieve stunning shots in outstanding 4K quality
Enjoy a wide variety of shooting and expression
Portable and durable with intuitive operation

Posted on October 16th, 2014 by Dan Chung | Category: 4K, Lenses | Permalink | Comments (0)

GoPro Hero4 gets a firmware update – improves night lapse shooting

By site editor Dan Chung:

The Hero 3+ Black

The Hero 3+ Black

GoPro’s Hero4 has only just shipped but it hasn’t stopped the company delivering a brand new firmware release today. The most important new features are an automatic shutter option for Night Lapse mode as well as continuous interval for night lapse mode. Additionally GoPro claim that image sharpness is increased in various video modes.

Sadly there is still no sign of the full manual exposure control that many pros have been wishing for. Hopefully GoPro will do this at some point in the future.

You can download the update now from the GoPro site.

Here is the update info from GoPro:

HERO4 Black v01.02.00 new Features:

Adds Automatic shutter option for Night Lapse mode
Adds Continuous interval for Night Lapse mode

Performance Improvements

Increases image sharpness in various video modes
Decreases Time Lapse shutter lag
Optimizes Time Lapse auto exposure performance for 0.5 and 1 second intervals
Decreases thumbnail load time on the LCD Touch BacPac™
Increases file transfer speed from camera to computer

Usability Improvements

Simplifies Default Mode menu
Adds 5 min option to Auto Off
Displays HiLight Tags in thumbnail gallery on the LCD Touch BacPac (3rd Generation only)
Improves swipe and playback controls on the LCD Touch BacPac (3rd Generation only)
Displays the most recent video or photo first during playback on the LCD Touch BacPac

General Improvements + Bug Fixes

Addresses an issue that may prevent pairing with the GoPro App
Addresses an issue that may disable live preview on the GoPro App
Addresses an issue that may cause the camera to appear out of range with the GoPro App
Improves battery level icon accuracy
Addresses an issue that may prevent files from being deleted
Addresses an issue which may cause the camera to automatically power on when connected to a computer
Other improvements and bug fixes

HERO4 Silver v01.02.00 new Features:

Adds Automatic shutter option for Night Lapse mode
Adds Continuous interval for Night Lapse mode

Performance Improvements

Increases image sharpness in various video modes
Decreases Time Lapse shutter lag
Optimizes Time Lapse auto exposure performance for 0.5 and 1 second intervals
Decreases thumbnail load time
Increases file transfer speed from camera to computer

Usability Improvements

Simplifies Default Mode menu
Adds 5 min option to Auto Off
Displays HiLight Tags in thumbnail gallery
Improves swipe and playback controls
Displays the most recent video or photo first during playback

General Improvements + Bug Fixes

Addresses an issue that may prevent pairing with the GoPro App
Addresses an issue that may disable live preview on the GoPro App
Addresses an issue that may cause the camera to appear out of range with the GoPro App
Improves battery level icon accuracy
Addresses an issue that may prevent files from being deleted
Addresses an issue which may cause the camera to automatically power on when connected to a computer
Other improvements and bug fixes

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Posted on October 15th, 2014 by Dan Chung | Category: 4K, GoPro, Timelapse | Permalink | Comments (0)

Production goes social: Movidiam offers new take on online collaboration for filmmakers

By Newsshooter contributor Jonah Kessel

Movidiam: The Promo from Movidiam on Vimeo.

A new social media infused project management platform has opened its digital doors for preregistration. Its called Movidiam and if you’re an independent filmmaker, production company or even brand — I think you have a lot to be excited about.

We’re seeing multiple sites offering creative collaboration project management systems pop up these days, such as and Arc 9. I believe this shows a real hole in the market — a product that’s missing. And based on my work flow which is largely based on email and Google Docs, I see why.

Before you brush this off as “yet another creative collaboration site,” pay close attention to the description above — this is much more than a site to improve workflow. Movidiam is both a social network as well as an interactive project management system made for filmmakers (by filmmakers). Think of it as Vimeo + Linkedin + Facebook + WordPress + Mandy + a project management system.

This system wasn’t made with Steven Spielberg or J.J. Abrahams in mind. Movidiam was created with the much more common 21st century filmmaker in mind: you and me.

“We are living in a connected and mobile world where the traditional agency model is challenged, where remote freelancing is becoming the norm and where the demand for brands to create a constant stream of quality films has dramatically increased,” says co-founder George Olver.

Movidiam was created to address these challenges by providing a streamlined and collaborative production process from concept to completion.”

So: What is Movidiam, how does it work and what can it do for me?” I had these same questions and while I had seen some talk of the upcoming system at IBC it wasn’t until I sat down with George Olver to take a tour of the preproduction system where I truly got a better understanding of its potential power.

On a the most basic level Movidiam connects content creators, agencies and companies. A brand looking for a filmmaker can search the system’s geobased database and see filmmaker profiles, complete with embedded videos, a free blog custom designed for the site and see the filmmakers credentials, history, awards and collaborations.


Down the line, the metadata of your films, projects and credentials will also be searchable. So a company could put out a brief and have it sent to only people or agencies who are actually qualified. Alternatively, a freelancer, producer or agency would only receive the brief, if that brief meets their set financial quantifications and profesional qualifications.

For all parties involved, this can make posting or responding to a brief much more efficient. Instead of having an enormous list of poorly paid jobs, like we mostly see on Mandy, this could potentially cut some of the bullshit out.


From within a project on the site, one can also search production team members. You might see a video with great lighting but a poor story and want to track down the gaffer. This system connects production team members digitally, much like Facebook or Vimeo’s credits. However, you’ll be able to find out a lot more professional information about those crew members with this system.

This is a quick over view of the social side of Movidiam.

While this is great, it’s the production side of Movidiam which I’m more excited about.


The project management system has many of the tools we really need in a single location, in a clean and simply designed user interface. Things like production timelines, budgets, storyboards, crew locations and contact details are all in one place.

One feature I’m personally interested in comes in the form of revisions. Unfortunately, most of my revisions happen via email. Ill send a draft of a video to an editor and they will send back a long list of time codes with comments or issues. And when you get 500+ emails a day and a working on multiple projects you can really waste a lot of time trying to simply update videos and find the information you need, when you need it.

Movidiam allows editors or clients to view videos and add comments in real time and on specific areas of the video. This might be a comment such as “can we get a different grade on the lamp here” where a user would then see these comments come up in real time and on a specific X/Y coordinate, on the video.

Users can then scroll through or navigate through a video via the comments and simply move directly from one comment point to the next.


Furthermore, if you’re like me and usually have 10-20 projects going on at any given time, this system can give you an overview of all of them. A user can see all of their projects and quickly see at what stage in the process they are all at, how the budget is holding up or where deadlines are across many videos.

This is where I see huge potential for video newsrooms. Potentially, an editor or director of a newsroom of 50 video journalists could see an overview of where all of the projects are, see storyboards, scripts, budgets, deadlines or story ID information which might correspondent to other parts of the newsroom. That editor could see current drafts of each of those projects and without having to send a mass email out to all of those 50 journalists, would be completely up to date on where each project was at and what each employee was doing.

This is a basic outline of what the site aims to do. Its a bit hard to tell what place it could have in the industry, but I see huge potential in it from getting gigs to connecting with other filmmakers to simply having more organized and streamlined productions.

Movidiam will have two main options for users: a free site and a paid subscription. The free account allows users to profile themselves, create portfolios and blogs, be searchable and work on any existing project that they have been invited into. The pay wall unlocks all the production management tools and will be on a subscription basis of $25 a month. Its great to note here that even free users can use paid services, if they are invited by a member who has subscription services. Multiple user accounts, corporate, agency and enterprise group accounts will also be available.

I do think the site will be more powerful with a bigger user base. If there’s more filmmakers on it, it will be a more realistic place for agencies and brands to search find creators. Movidiam is offering two free months of full access to those who preregister for the beta site, so I encourage everyone to sign up here, as more users can actually benefit us all, across the industry.

Jonah M. Kessel is a video journalist with the New York Times. He contributed to a Pulitzer Prize winning series and been awarded the Robert F. Kennedy Award for Justice and Human Rights. See more of his work at or follow him on Twitter here.

Posted on October 14th, 2014 by Jonah Kessel | Category: Journalism, Video editing | Permalink | Comments (0)

Go Creative Show: Audio for picture master class

By site editor Dan Chung:

go creative audio

The latest Go Creative Show covers the often overlooked but very important subject of mixing audio for picture. Host Ben Consoli talks to audio engineer Matt Russell about his work and the techniques he uses. They discuss EQ techniques, ducking, how to balance voice and music together, fixing common audio problems, and more.

If you ever have to edit your own audio then click below to listen in:

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Posted on October 13th, 2014 by Dan Chung | Category: Audio, Go Creative show | Permalink | Comments (0)

IBC 2014 video: iFootage show motion control head and slider with wireless remote, lightweight GoPro gimbal and carbon fibre tripods

By site editor Dan Chung:

We’ve finally caught up with all the videos we shot at IBC last month in Amsterdam. Hong Kong manufacturer iFootage has to win the award for interviewee with the best name and possibly the most apt: Dark Horse (many Chinese get to choose their own English names, which leads to some unexpected ones). Although many people won’t be too familiar with the brand they have rapidly gained a following in Asia for making the Shark S1 slider which we previously featured.

At IBC the company were showing several new products. First was a refined version of the motion control head they showed as a prototype at NAB. It attached to the Shark slider and is expected to cost around $2200 US when it ships towards the end of the year. It now seems much more like a real product and the moves we filmed with it were quite smooth. The wireless remote control is well made out of aluminium and looks like it would stand professional use.

As well as the motion control head there is also a motor unit for the slider that can be set to run in a cycle, from one end to the other and then back again. This is similar in concept to other units from Kessler and Edelkrone which can be left running for the duration of a shoot. Obviously, if you are doing an interview it’s important for the slider to run as quietly as possible. We couldn’t tell on the busy show floor just how silently this one runs – hopefully we can test that when it ships. Unlike the Kessler, Redrockmicro or Konova offerings the iFootage sadly does not have a parallax adjustment.

Me modeling the new iFootage Hummingbird GoPro brushless gimbal mounted to a helmet

Me modeling the new iFootage GoPro brushless gimbal mounted to a helmet

Also on show was a cute Hummingbird two-axis gimbal for the GoPro Hero. There were plenty of these around at the show but the iFootage one was made of plastic and therefore much smaller and lighter than anything else we saw. It runs on a regular GoPro Hero3 battery and uniquely has a regular GoPro mount so it can attach to any regular GoPro accessory mount. This means it can be used on helmet mounts, car mounts, selfie sticks etc without the need for additional gear or weight. Very clever. My only wish is that it was a three-axis device rather than two.

Lastly, they were showing new heavy duty carbon fibre tripods. These are similar to designs from Miller, Manfrotto or Gitzo, but with the addition of a removable leg brace that adds stability if needed.

Overall the fit and finish of iFootage gear seems first rate and a notch above most other Chinese gear makers. To find out more check out the iFootage website.

If you want to see just what the original Shark S1 is capable of then check out the slides in this recent video from Beijing, in which Clinton Harn used iFootage gear to shoot for DP Rodney Charters:

Posted on October 11th, 2014 by Dan Chung | Category: IBC show, SIiders, Timelapse | Permalink | Comments (0)

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