The new #RED #SCARLET-W captures 5K at 60 frames per second, #4K at 150 fps and 2K at 300 fps with REDCODE #RAW. #ProRes recording is limited to 2K. The “BRAIN” is $9,950 and a complete package is around $14,500. (The RED RAVEN, for comparison starts at $5,950 for the BRAIN, and $9,750 for full packages.
So it seems that the new #camera sits in between the WEAPON and the RAVEN, with the WEAPON offering even higher resolutions – effectively the top-end camera, and the RAVEN with it’s recently-upgraded-to-4.5K sensor being pitched and use with drones and motorised, stabilised gimbals (although not exclusively so).
Sourced through Scoop.it from: www.redsharknews.com
RED Press Release:
RED #DIGITAL CINEMA ANNOUNCES THE INDUSTRY-CHANGING 5K SCARLET-W CAMERA SCARLET-W, THE NEWEST ADDITION TO THE RED DRAGON® FAMILY, DEMONSTRATES RED’S ONGOING COMMITMENT TO MAKING SUPERIOR IMAGE QUALITY ACCESSIBLE TO PROFESSIONALS EVERYWHERE
IRVINE, CA – December 10, 2015. Today, RED Digital #Cinema unveiled the latest addition to its line of professional #cameras, the SCARLET-W. Joining the RED RAVEN and WEAPON® in the latest generation of RED cameras, the SCARLET-W is a versatile, feature-rich, and intuitive option for professional shooters.
SCARLET-W offers a RED DRAGON sensor, interchangeable #lens mounts, simultaneous recording in REDCODE® RAW and Apple ProRes formats, an intelligent OLPF system, and in-camera #3D–#LUT outputs. At just $9,950 for the camera BRAIN® and $14,500 for the complete Base I/O V-Lock Package, SCARLET-W delivers unparalleled flexibility, accessibility and performance.
SCARLET-W captures 5K at 60 frames per second (fps), 4K at 150 fps, or 2K at 300 fps with REDCODE RAW; and its wide dynamic range produces cinema-quality images rich with natural color. SCARLET-W also offers an upgrade path to WEAPON and uses the DSMC2TM line of accessories— compatible with both RED RAVEN and WEAPON cameras—giving shooters the option to move between camera systems without having to purchase all new #gear.
“When we began shipping the 4K RED ONE in 2007, it did nothing short of disrupting the camera industry with an unheard of blend of performance and price,” says Jarred Land, President of Red Digital Cinema. “And we are doing it again—meet the 5K SCARLET-W. It is a perfect storm of image quality, intuitive design, and accessibility."
SCARLET-W comes on the heels of the recent 4.5K RED RAVEN announcement, and is the latest example of RED’s ongoing commitment to the belief that cinema-quality creative tools should not be in the hands of a few—they should be available to a wide spectrum of content creators. RED RAVEN is RED’s most compact and lightweight camera priced at $5,950 for the BRAIN only, with full packages starting at $9,750. Customers that have placed RED RAVEN pre-orders can easily change to a SCARLET-W pre-order.
SCARLET-W is estimated to begin shipping in February 2016, and deposits will be accepted beginning today. Customers will be given a choice of purchasing the BRAIN only to build a kit that best fits their needs or choosing the SCARLET-W Base I/O V-Lock Package, which offers everything content creators need to start taking their productions to the next level.
1 | RED DIGITAL CINEMA
RED DIGITAL CINEMA 34 Parker | Irvine, CA 92618 | 949.206.7900 | Red.com ! SCARLET-W BRAIN ONLY – $9,950 – estimated to ship February 2016 ! SCARLET-W BASE I/O V-LOCK PACKAGE – $14,500 – estimated to ship March 2016 o Includes a SCARLET-W BRAIN, AI #Canon Mount, Base I/O V-Lock Battery Mount, RED MINI-MAG® 120GB, DSMC2 RED Touch 4.7” LCD, DSMC AC #Power Adaptor, and DSMC2 Universal Handle.
See on Scoop.it – GearJones – Digital Filmmaking Gear & Tips
Maximize production and minimize post with the easiest 4K workflow yet
Grass Valley, CA (December 22, 2014)—AJA Video Systems’ CION 4K/UltraHD/2K/HD production camera is now shipping globally. Ergonomic and lightweight in design with unparalleled connectivity, CION™ is capable of shooting at 4K/UltraHD and 2K/HD resolutions. In-camera recording directly to the Apple ProRes family of codecs, including 12-bit ProRes 444, enables incredible image quality capture to cost-effective AJA Pak SSD media at up to 4K/60p, and offers compatibility with a wide range of post production applications. CION also outputs AJA Raw HFR at up to 4K/120p. CION is the only 4K/UltraHD camera available that captures internally to 12-bit ProRes 444.
Featuring more simultaneous on-set monitoring outputs than any other camera in its class, alongside a built-in confidence monitor and LAN browser video tap, CION provides advanced monitoring flexibility for a wide range of productions. Users can choose a combination of 2 x 4K/UltraHD and 3 x 2K/HD or 8 x 2K/HD, check each camera feed in multi-cam setups through an integrated LAN connection, and monitor remaining recording time all in tandem. The unique LAN port and embedded webserver facilitates full remote configuration and control, so users can set up and control or gang control multiple CION cameras via a standard web browser. Made from a lightweight yet strong magnesium alloy and featuring a contoured suede shoulder pad, CION is easy and comfortable to setup and operate. Using AJA’s Pak Dock on set, CION operators can also achieve lightning fast transfer speeds via Thunderbolt™ or USB3 for immediate access to files for editing. Third party lens mounts are available which allow CION greater compatibility than any other 4K/UltraHD camera system.
[su_quote]CION is the culmination of years of R&D, technical ingenuity and passion. We couldn’t be prouder to release it; it not only delivers an extraordinary film-like image quality and accuracy, but offers a unique feature set that facilitates a level of flexibility and control in production environments unlike anything else before regardless of resolution – while still providing the same great reliability and support that AJA is known for,” said Nick Rashby, president, AJA Video Systems.[/su_quote]
- Sensor: 4K APS-C sized CMOS sensor with an electronic global shutter. 12-stops of dynamic range.
- Exposure index: 250, 320, 500 and 800
- Gamma: Disabled, Normal, Normal Expanded, Video and Expanded 1
- Recording Formats and Resolutions: Apple ProRes 4444, Apple ProRes 422 (HQ), Apple ProRes 422, ProRes 422 (LT) and Apple ProRes (Proxy); 4K (4096×2160), UltraHD (3840×2160), 2K (2048×1080), HD (1920×1080). 2K and HD are hardware scaled from the full 4K sensor for high-quality over-sampled images and retention of field-of-view.
- Media: Record to AJA Pak SSD media available in 256GB and 512GB capacities. Transfer via Thunderbolt™ or USB3 with optional AJA Pak Dock; Complete 10-bit and 12-bit workflow from HD to 4K.
- Raw Support: Output AJA Raw via 3G-SDI at up to 4K 120 fps or via Thunderbolt™ at up to 4K 30 fps.
- Lens Mount: Industry standard PL mount, removable, with 3rd party mounts available for CanonEF/FD, Nikon F/G-Mount, Leica M, ARRI Bayonet, Panavision and B4 ENG lens types.
- 4 x 3G-SDI/HD-SDI outputs (4K/UltraHD/2K/HD)
- 2 x 3G/HD-SDI monitor outputs with overlay support
- 1 x HDMI output offering support for 4K and UltraHD or scaled 2K/HD
- 1 x HDMI output for 2K/HD
- 2 x mic/line/48v XLR analog audio inputs
- 2 x LANC control ports
- 1 x LTC input connector
- 1 x Reference connector
- 1 x USB connector
- 1 x 10/100/1000 Ethernet LAN connection
- 1 x Mini TRS headphone jack
- 1 x 4-pin XLR power connector
- 1 x input power connector for attaching third-party battery plates
- 1 x P-TAP output power connector
- 1x Thunderbolt™ connector
Optical Low Pass Filter and IR cut filter: An integrated OLPF (Optical Low Pass Filter) reduces unwanted moiré effects while still retaining vital image detail. The infrared (IR) cut filter produces high quality colors within the image by blocking unwanted light wavelengths.
Back Focus Adjustment: The mechanical calibrations of the distance between lens and sensor allows finely tuned adjustments to ensure the sharpest image quality possible.
Industrial design: Lightweight magnesium chassis, built-in confidence monitor, standard playback controls and connectors placed to optimize functionality. Integrated “cheese plates” fitted to both the top and the bottom of the chassis provide easy mounting of accessories. All CION accessory connection points use open standards, including 15mm rods, 1/4-20 and 3/8-16 threaded holes, and M6 hirth-tooth rosettes.
User interface: Via operator side panel display, control knob and buttons or via LAN connection using a web-browser; no software installation required.
Pricing and Availability
Pricing for CION is US MSRP $8,995. AJA Pak SSD media is available at a US MSRP of $695 (256GB) and $1295 (512GB). AJA Pak Dock is available at a US MSRP of $395 along with a host of other AJA camera accessories. To place orders, please visit http://www.aja.com/en/where-to-buy#wtb-cion for a list of AJA CION resellers. For additional CION information and a full list of features, visit www.aja.com
Third-party camera accessory manufacturers including Alphatron, MTF, Portabrace, Wooden Camera, Vocas, Zacuto, Arri and many others have already produced several accessories, from viewfinders to lens mounts and protective cases for CION and are available through their respective retail channels. Support for AJA Raw has already been announced by industry-leading workflow companies, including Adobe and Colorfront.
About AJA Video Systems, Inc.
Since 1993, AJA Video has been a leading manufacturer of video interface technologies, converters, digital video recording solutions and professional cameras, bringing high-quality, cost-effective products to the professional, broadcast and post-production markets. AJA products are designed and manufactured at our facilities in Grass Valley, California, and sold through an extensive sales channel of resellers and systems integrators around the world. For further information, please see our website at www.aja.com.
Introducing the world’s first digital film camera designed to revolutionize on set workflow while featuring a user upgradable sensor and lens mount, large 10 inch fold out monitor and more!
NAB 2014, Las Vegas, USA – April 7, 2014 – Blackmagic Design today announced Blackmagic URSA, a new high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has multiple accessories built in, including a massive 10 inch fold out on set monitor, large user upgradable Super 35 global shutter 4K image sensor and internal dual RAW and Apple ProRes recorders.
Because the sensor and lens mount assembly can be changed, customers can choose EF or PL lens mounts, or even a broadcast video sensor with B4 mount, then upgrade the camera in the future. The Blackmagic URSA EF model will retail for $5,995.
Blackmagic URSA will be demonstrated on the Blackmagic Design NAB 2014 booth at #SL219.
Blackmagic URSA is designed to be used on high end feature films, commercials, episodic television production, documentaries, electronic news gathering, music videos and more. When used on jobs with a large crew, customers can easily dress the camera with high quality cinema lenses, rails, follow focus, matte boxes and more. With built in scopes for exposure, focus and audio levels, built in dual recorders and the large 10 inch fold out on set monitor, customers can dramatically reduce on set equipment because it’s all built into the camera.
The Blackmagic URSA features a larger professional size that has the space for powerful cooling that allows higher frame rates while keeping the chassis cool and the fan quiet. The sleek futuristic machined aluminum design is incredibly strong and has been designed for large film crews while being able to be field upgraded to new sensors by the user. Each area of the camera has been divided into separate DOP, camera assistant and audio engineer work stations. The DOP station features a large 10 inch fold out on set monitor and separate 5 inch screen for settings, camera status and scopes. The camera assist station features a separate screen for camera settings, status and scopes and an audio station features audio meters, controls and audio connections.
Blackmagic URSA is a true professional digital film camera with a 4K sensor, global shutter and a wide 12 stops of dynamic range. The wide dynamic range is superior to regular video cameras or even high end broadcast cameras and results in dramatically better images that look like true digital film. The large Super 35 size sensor allows for creative shallow depth of field shooting and high resolution Ultra HD, 12 bit lossless compressed Cinema DNG RAW and Apple ProRes™ allow for easy post production workflow with minimum storage requirements.
The Blackmagic URSA features a modular camera turret that can be simply replaced by removing 4 simple bolts! The camera turret includes the sensor, lens mount and lens control connections and can be upgraded in the future when new types of sensors are developed. There are currently 4 models to choose from, URSA PL supports PL mount lenses and URSA EF supports EF mount lenses from Canon, Zeiss and more. Both of these models include the large Super 35 sized global shutter digital film sensor. The URSA Broadcast B4 model, available late 2014, features a broadcast video Ultra HD sensor and B4 lens mount used in broadcast. The URSA HDMI model has no sensor and its lens mount is replaced by a “cheese plate” of mounting points and a HDMI input, allowing any third party camera to get the benefit of the URSA camera body features.
“Our goal when developing the URSA was to build a camera that had all the cooling capacity for higher frame rates, and a large on set monitor as well as built in scopes so you had everything you need built into the camera itself. The problem with spending so much money building in such incredible accessories is that they become outdated as sensor technology moves on. So we designed the ability to upgrade the sensor so customers can simply bolt on a new sensor and turret assembly in the future!”, said Grant Petty, CEO, Blackmagic Design, “We think this is a revolution and this upgradable design means we have been able to put a lot more effort into the design of the camera body itself and the quality of the screens, recorders, cooling system and processing power than would normally be offered. The result is one of the most amazing television products I have ever seen!”
Blackmagic URSA PL and URSA EF Key Features
- Large high resolution 4K Super 35 mm sized sensor with superior handing of image detail.
- Professional global shutter for smooth pans and image motion.
- Wide 12 stops of dynamic range allows capture of increased details for feature film look.
- Compatible with extremely high quality PL or EF mount lenses.
- User upgradable design allows customers to upgrade and change the sensor and lens mount.
- Built in dual CFast 2.0 card recorders allow unlimited duration recording in high quality.
- Open file formats compatible with popular NLE software, such as Apple ProRes and compressed CinemaDNG 12 bit RAW. No custom file formats.
- Support for ProRes HQ, ProRes 422, ProRes LT, ProRes Proxy recording at resolutions up to Ultra HD.
- Features all standard connections, including dual XLR mic/line audio inputs with phantom power, 6G-SDI output for monitoring with camera status graphic overlay and separate XLR 4 pin power output for viewfinder power, 6G-SDI monitoring input, headphone jack, LANC remote control and standard 4 pin 12V DC power connection.
- Built in stereo microphones for recording sound.
- 3 separate built in LCD monitors for camera settings and metadata entry. Large 10 inch screen folds out for full resolution HD monitoring with wide viewing angle and high brightness.
- Supports Ultra HD and 1080 HD resolution capture in 23.98, 24, 25, 29.97, 30 up to 60 fps.
- Features liquid cooling system allowing higher frame rates when future sensors support this feature.
- Supports quick release tripod mounts and adding V-Mount and Anton/Bauer mount battery plates.
- Includes full copy of DaVinci Resolve software color grading and editing software.
Availability and Price
Blackmagic URSA will be available in June/July from US$5,995 from Blackmagic Design resellers worldwide.
Product photos of the Blackmagic URSA, and all other Blackmagic Design products, are available at www.blackmagicdesign.com.
About Blackmagic Design
Blackmagic Design creates the world’s highest quality video editing products, digital film cameras, color correctors, video converters, video monitoring, routers, live production switchers, disk recorders, waveform monitors and real time film scanners for the feature film, post production and television broadcast industries. Blackmagic Design’s DeckLink capture cards launched a revolution in quality and affordability in post production, while the company’s Emmy™ award winning DaVinci color correction products have dominated the television and film industry since 1984. Blackmagic Design continues ground breaking innovations including 6G-SDI and 12G-SDI products and stereoscopic 3D and Ultra HD workflows. Founded by world leading post production editors and engineers, Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia. For more information, please go to www.blackmagicdesign.com.
Sony NEX-VG900 Samples from Gear Jones on Vimeo.
Quick Review of the Sony NEX-VG900
[singlepic id=86 w=320 h=240 float=right]
I was recently working for Sony on a three day event introducing a line up of several of their new full frame and APS sensor offerings in the still and video worlds. My primary role was providing assistance for participants with any video related questions, but I also was shooting ‘behind the scenes’ videos of the various activities.
I had the chance to spend a fair amount of time working with the new Sony NEX-VG900 full frame video camera. This is my initial impression of using the camera in quick turnaround situations over the three days and in no way represents an official opinion or review from Sony. The camera I had was a pre-release model so some items and specs may change before mass production.
The NEX-VG900 is a consumer model, but clearly, with the full frame sensor it will attract the interest of professionals. Sony has covered a lot of bases by using the same sensor in three very different cameras – the VG900, the A99 a pro level DSLR type camera and also in a very small fixed lens compact, the RX1.
While I was prepared to find the VG900’s lack of professional controls limiting, I was won over by the cameras image quality, small size and ease of use – and the controls weren’t too bad either!
Will the VG900 replace any of your pro cameras or become a primary camera? I doubt it, but at such a low price point for some astounding image quality the VG900 can easily fill the bill as a second or stealth camera.
Although the VG900 has a full frame sensor, it uses Sony’s E mount (an APS lens mount) as standard. The camera ships with the LA-EA3, Sony’s (full frame) A mount adapter, so you can easily use any of the extensive line of both E and A mount lenses. If you do use an E mount lens on the camera – it can automatically switch to a crop mode so you will not get vignetting. For the BTS videos I primarily used two A-mount Zeiss zooms, the 16-35 f/2.8 and the 24-70 f/2.8 along with the LA-EA3.
The first thing I noticed was the minuscule weight and small size of the VG900. Like many cameras this size – it is not meant for using on your shoulder and has an articulated swing out lcd panel on the left side and a viewfinder at the top rear. Both worked well although in the bright California sunlight, I was using the viewfinder in many circumstances.
With a small E mount zoom, the VG900 is practically a palm-corder. Adding the LA_EA3 and a serious piece of glass, like one of the lenses I was using, more than doubled the length and weight. However, even with the adapter and heavy glass, the VG900 was light enough to use like many other small sized pro and prosumer cams.
I had no trouble holding and balancing the camera in a variety of positions and on the small Manfrotto 701HDV tripod head I was using (on dollies and on sticks). To that end, Sony has usefully included a tripod threaded hole on the bottom of the LA-EA3 for the shift in center of gravity.
[singlepic id=87 w=320 h=240 float=left]The VG900 has several dedicated buttons on the side giving you direct access to various exposure controls so you can easily use the controller wheel instead of diving through too many (or any) menus to control the iris, shutter speed and gain. This brings me to my one rather big peeve with the camera (and to be fair, many other small consumer cams).
Built in ND filters, or rather – the lack thereof.
I know its a consumer cam and designed to hit a certain price point. But a big reason for going with a full frame (or any larger sensor) camera is for that shallow depth of field. Without ND filters built in you have to resort to juggling ND’s on your lenses or drastically raising your shutter speed to keep your lens open wide enough to take advantage of the shallow DOF. Even with an ND 4 and a circular polarizer stacked on my lenses, I was still stopping down to between a 5.6 and 8 in the full sun.
A built in, two-stage ND, in my mind is a must have on pretty much any video camera, pro or not for two reasons. First, in order not to really change the way motion is captured, you want to limit your shutter speed to between 1/48 and 1/60 of a second, maybe up to 1/120 if you’re in a bind. Second, the sharpness of most lenses starts to deteriorate once you get to smaller apertures, let alone the increase in your depth of field. I don’t like stopping down much past an f/8 if I can help it. Once you take away the higher shutter speeds and smaller apertures – built in ND’s can save your bacon. ok – end of rant…
[singlepic id=85 w=320 h=240 float=right]One of the features I found myself using a lot was the built in servo zoom rocker switch. I swore off digital zooms a long time ago – but now they’re back! Regardless of the lens used, up to a 2x zoom is built in and controlled with the rocker switch. I’m not sure if its the increase in quality of sensors overall, or the big full frame sensor in the VG900, but the quality of the shot did not suffer when I used the digital zoom and having a servo on a large sensor camera is like welcoming back an old friend. You could choose six different zoom speeds and I noticed the servo itself could have been a little better feathered at the starts, but the 2x range came in very handy for circumstances where I needed a little more out of the lens and didn’t have time to change.
The lcd is a touch screen and is used not only for monitoring, but also for navigating and selecting various menu items. The lcd looked good enough for framing and non-critical color, but in bright sun I found it hard to see and for focus I used a combination of a peaking function and a magnify function. I really liked being able to choose which way to check focus – I found peaking useful for focusing ‘on the fly’ and having a magnify button was great for when I was locked down and had time to bump in and check critical focus. Within the menus you could chooses the color of the peaking, the magnify function was very conveniently located on a push button near the rocker zoom switch.
The VG900 has an OLED electronic viewfinder which conveniently turned on as I brought my eye to the eyepiece, even when the lcd was in use. I still needed to use the peaking and magnification for focus, but the image in the finder looked really good for it’s small size.
There were hard switches for choosing between still and video mode (I never tried the stills) and a mini hdmi jack is available for using external monitors. There were also two switches for start and stop recording, one on the back of the camera, encircled by the on/off switch, and the second on top of the camera near the magnify and zoom switches.
Overall I was very impressed with the handling of the VG900. Even with heavy glass and an audio module the camera only came up in weight equal to the mini pro cameras I already use. The size and balance seemed familiar and I got used to the camera controls quickly and was able to concentrate more on shooting than hunting through menus.
[singlepic id=84 w=320 h=240 float=left] I thought it odd that Sony made the ‘native’ mount on the camera the E mount, but they include the LA-EA3 for using A Mount lenses and I had no trouble with using a variety of A and E mount lenses with the VG900. The camera was not able to automatically control the aperture of the two Zeiss lenses I was using, but I prefer setting the aperture manually and I was able to do just that with the control wheel located near the bottom of the camera just under the LCD. With E-mount lenses, you can go from full manual to full auto control with the press of a switch.
The VG900 has a 5.1 built-in mic, which I did not test. I used Sony’s new XLR-K1M adapter and microphone kit for adding a full professional audio control block along with two XLR jacks and a short shotgun mic. The XLR-K1M will cost you about $800, but does include the ‘smart’ shoe connector, xlr connectors, short shotgun mic and mount – so it’s a one and done deal. This module works on the A99 as well.
The VG900 will record 1080 HD video at 17Mbs, AVCHD in 24P or 60i in the ‘High’ quality “FH” setting. In the ‘Highest Quality’ “PS” setting, you can record 1080/60p at 28Mbs. We were using Final Cut Pro 7 to cut the BTS footage and we had difficulty importing our tests with the PS setting, so I shot everything at 24p in the FH setting. This was mainly an issue with Final Cut as some of the participants were shooting at PS, 1080/60p and were using other software to import and cut their footage.
The camera also sends out uncompressed HD video, without overlays, via it’s mini HDMI port.
The NEX-VG900 is a consumer cam that can fill in for pro cams in a pinch while providing full frame video in small easy to use package.
* Full frame – isolating focus in a wide shot outdoors on a sunny day is something you just can’t do with small sensor cameras.
* Small size/lightweight – even with adapters and lenses, and with an E-mount zoom you could pass for a consumer in stealth situations.
* Built in 2x digital zoom via servo rocker switch.
* Exposure & Focus controls not buried in menus.
* Pro XLR’s available when needed, and includes a nice mic with mount.
* up to 1080/60P available in cam, uncompressed HDMI out.
* No built in ND filters.
* Control wheel could have been a little bigger for my fingers.
Any of the other things I might think the camera should have are really in the provence of pro and pro-sumer cameras. For just about $4,200 you can have the VG900, with the LA-EA3 A-mount adapter and the XLR-K1M audio adapter.
The NEX-VG900 really delivers in terms of features and results. Aside from juggling ND filters on lenses, I really enjoyed shooting with this camera and have no doubt that it delivers pro results in a consumer body.