Spotlight Archive
NAB 2012: Canon releases EOS-1D C digital SLR camera for movie and TV production
By Digital Arts Staff | Digital Arts Online | 17 April 12

Canon has debuted the EOS-1D C at the NAB show in Las Vegas. The EOS-1D C is a digital SLR with a video focus that supports in-camera 4K (4,096 x 2,160) video recording with 4:2:2 colour sampling.

4K video is recorded using 8-bit Motion JPEG compression at 24p, and Full HD (1920 x 1080) video capture is available at frame rates up to 1080/60p. The camera supports internal recording to CF cards at all resolutions up to and including 4K, offering enhanced mobility. Video at 2K or below can also be output to external recorders via an integrated HDMI terminal using an uncompressed YCbCr 4:2:2 signal.

The EOS-1D C features Canon Log Gamma, which facilitates the capture of high-quality video rich in exposure latitude and dynamic range. Aimed at video pros who want to retain the maximum amount of information without huge file sizes, Canon Log Gamma offers a dynamic range that Canon says is comparable to film, minimising shadow-detail loss and highlight-detail loss to provide greater grading freedom for colourists in post-production.

Based on the core specifications of the EOS-1D X, the EOS-1D C has an 18.1-megapixel full-frame CMOS sensor. Users can adjust image resolution to suit a subject or desired output. During 4K shooting pixels are cropped to an area equivalent to an APS-H sensor, preventing the need to resize or scale the image, ensuring maximum image quality. Additionally, a Super 35mm crop in Full HD recording caters for cinematographers who typically work in the Super 35mm field of view.

Canon says that the EOS-1D C's size enables users to achieve an extremely shallow depth of field with beautiful background blur, and sensitivity up to ISO 25,600 provides excellent quality and reduced noise in low-light situations.

The EOS-1D C ships with an exclusive software package, including a suite that allows 4K/Motion JPEG and Full HD/60p video shot on the camera to be output on an external monitor. This requires the use of a PC equipped with an SDI port. It also enables video shot with Canon Log Gamma to be output on a monitor with standard video gamma applied.

As part of the EOS system, the EOS-1D C is compatible with more than 60 EF lenses, all of which offer high resolutions to support 4K image capture.

The EOS-1D C will be available from October, priced at £10,000/12,300 including VAT.

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NAB 2012 - Adobe PDF
NAB 2012: Adobe debuts CS6

Adobe’s newly unveiled Creative Suite 6 Production Premium got lots of attention during NAB at the Adobe exhibition and at more than 60 partner stands, writes Carolyn Giardina.

The bundle includes new versions of Premiere Pro, After Effects, Audition, Story Plus, Media Encoder, Encore, and Photoshop; as well as SpeedGrade color grading system; and Prelude for ingest, logging and transcoding.

CS6 is also a cornerstone of Adobe Creative Cloud. “The idea is to create workflows,” said Adobe’s Bill Roberts. “People will be able to jump in and use cloud storage.”

Photoshop is currently in beta. SpeedeGrade was previously offered by Iridas, which was acquired by Adobe just prior to IBC 2011.

Many manufacturers announced support for CS6 during NAB, including AJA, which plans to support CS6 Creative Suite with AJA's Io Express, Io XT and KONA for both Mac and Windows customers.

EditShare reported that project sharing for CS6 is possible using EditShare networked storage. According to the company, the new Adobe release is compatible with features of Flow, EditShare’s media asset management system.

Octopus Newsroom previewed its newsroom system integration with Premiere Pro CS6 software. As with Premiere Pro CS5.5, this creates a workflow via the Octopus NLE plug-in, running on MacOS X or Windows.

Among the additional NAB announcements, Matrox supports CS6 with the Matrox MX02 I/O devices and Matrox Mojito MAXI/O cards; and Vizrt launched its Viz Media Engine with Adobe Premiere Pro CS6 integration.





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Canon C300 Vs RED Scarlet-X

From RealSEO:

A few nights ago, both Canon and RED announced cameras in the heart of filmmaking land, only 10 blocks apart from each other. Judging from the specs you could easily say that RED blows Canon right out of the water. 4k resolution at 1-25fps, 2k at 60fps and HDR-x technology at a pricepoint that's comparable to Canon's 1080p are the core differences. Still, I will probably go for the Canon C300... here's c300 vs red scarlet x

In this post, I'm not going into the fine details of the announcement, as these have been covered at length in various blogs:

Please read these blogs first, if you have no idea what the announcement was all about.

"Viewing" the various live blogs and tweets on the event from 11PM onwards on my iPad, I was disappointed by the end when Canon announced the price: $16 msrp for the EF-version. This price will likely go down a few notches when it hits the streets in January, but it sure is a hurdle to take, given the specs. I mean, no 50/60fps in 1080p!? Even a cheap Sony NEX-5N can do that! So I went to bed just before the start of RED's announcement (2AM). However, after a night with little or no sleep (tossing and turning), I was blown away by the news from RED.

Nonetheless, having thought about it some more, I think the Canon route is still the better option, regardless of the very (and I repeat VERY) attractive specs that RED offers. Here's why:

  • Canon is worldwide / RED isn't
    Service is a deciding factor for me. If you spend 10k+ on an A-Camera and you depend on it for your craft, you want to make sure you get excellent service when it breaks down (it happens). Since I'm based in the Netherlands, this means I would have to send in a RED camera to the UK or perhaps USA for service - probably without the option of replacement bodies. This is probably also why Canon chose to set up a service center in Hollywood.
  • Canon offers 1080p now, but 4K in the future
    I need a camera yesterday with XLR inputs, great low-light performance and virtually no rolling shutter/moire issues. Basically, all the stuff I don't get on current breed of DSLRs, which, by the way, have served me well over the past few years. Most of my clients (I make productions for online mainly) are happy with 720p final resolution, and I expect this to remain so for at least the next year or so. Maybe they'll want 1080p, but then the C300 delivers. Also, by that time the new 4K DSLR will be here, which could serve as a replacement B-Camera.

  • Sony FS100/F3 are not option (yet)
    I am heavily invested in Canon glass, all EF mount. Unless MTF/Birger come up with a mount w/o a breakout box, I can't shoot with the FS100/F3 on anything other than a tripod. It sure is a source of unbalance on a Glidecam and cumbersome on a held-hand rig or a monopod (the latter which I shoot a lot with). MTF should include an aperture control ring on the mount itself. No, it won't be as smooth as manual control (it will click at 1/3 increment stops as does the camera), but you have no separate device dangling below your lens.

That being said, I still have some thinking to do myself before I make a final decision.

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From: Broadcast Newsroom

Building a bigger sanctuary is just one way that houses of worship can grow their congregations. Another way is to use the Internet to share video of services with worshippers across the nation and around the world. Capturing worship services for Internet distribution requires a camera thats not only small enough to be relatively inconspicuous to the congregation but also capable of delivering high-quality HD video that will withstand Internet compression. For these and other reasons Audio Visual Associates (AVA) of Denville, N.J. worked with Canon U.S.A., Inc., a leader in digital imaging, and chose two Canon BU-50H robotic remote-control 16:9 HD pan-tilt-zoom (PTZ) cameras for Beth Israel Worship Center (BIWC) in Wayne, N.J. One of the largest Messianic Congregations in the United States, BIWC is led by senior pastor and messianic rabbi Jonathan Cahn.

Achieving a broadcast-quality picture was key for BIWC, stated Carl LaGrotteria, Jr., senior account executive for AVA. When we demonstrated the HD video quality of the Canon BU-50H, the choice was obvious; pastor Cahn and everybody else saw the incredible level of detail that these cameras can achieve.

Incorporating a Canon HD camera equipped with three 1/3-inch (1.67 million-pixel) CCD sensors (1440 H x 1080 V), a Canon 20X HD zoom lens, and Canons advanced Auto Focus and Image Stabilizer features, the two BU-50H robotic remote-control HD PTZ cameras are used to capture worship services at BIWCs 70,000-square-foot facility, as well as conferences and other events. Facing the stage from either side of the 500-person capacity synagogue, the cameras overlook the Inspirational Space, an immersive replication of Jerusalem that includes a complete stonework re-creation of the Wailing Wall complemented by a service-spanning digital LED sunrise-to-sunset light show. Imagery from the two Canon BU-50H robotic remote-control HD PTZ cameras (and an additional manned Canon XF305 professional HD camcorder) is projected in HD onto three 16x10 foot screens.

The A/V capabilities and the overall presentation at the BIWC are simply overwhelming, LaGrotteria stated. The Canon BU-50H robotic remote-control HD PTZ cameras are an ideal fit in many ways. In addition to the superb picture they deliver, the cameras are remote-controllable and extremely quiet. They dont create a distraction in the sanctuary, whereas having multiple manned cameras can draw attention away from the service and its message.

Featuring a maximum noise level of NC30, the Canon BU-50H robotic remote-control HD PTZ camera is designed not only for houses of worship, but also other environments including concert halls, audio and video studios, and conference rooms where quiet operation is essential. Compact and weighing only 24 lbs., the Canon BU-50H provides extremely smooth 300-degree pans and 40-degree tilts. Users can program the camera for repeatable and simultaneous panning, tilting, and zooming to up to 32 preset coordinates. The control protocol of the BU-50H is non-proprietary and open. Users or system integrators can interface the cameras with their own control system or that of third-party providers to operate the pan/tilt system while also facilitating remote operational control of the 20x HD zoom lens and camera-video functions.

In the control room, these cameras are operated via Vaddio controllers, and its a seamless integration, LaGrotteria noted. In fact, the A/V Director at BIWC often speaks of the Vaddio controllers and the Canon BU-50H cameras as if they were one unified piece of equipment.

The Canon BU-50H robotic remote-control HD PTZ camera also provides advanced connectivity features, including genlock input for video synchronization in broadcast television systems. Outputs include uncompressed HD-SDI (SD-SDI available on request) with audio for external recording, and a standard-definition composite NTSC video output for monitoring purposes. Short- and long-distance control systems interface via RS-422 connections, and an optional third-party E/O (electrical-to-optical) converter is available to enable extended connectivity via fiber optics. T he BIWC features full fiber connectivity to facilitate Internet transmission, as well as fast production and DVD distribution of the days sermon for departing parishioners.

The support from Canon has been out of this world, LaGrotteria noted regarding the relationship between the AVA team headed by lead engineer Shelby Tuhari, BIWC, and Canon. Whenever there were any issues, a local Canon rep has been on hand the same day. You know youre going to get personal service right then and there, and from a dealer perspective, thats huge.

Houses of worship today are incorporating appropriate technology to complement their services without overpowering them, LaGrotteria concluded. BIWC is not your typical religious center; it provides a transcendent experience. Their choice of the Canon BU-50H cameras shows that theyre committed to sharing their message with the world at the very highest level of quality.
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June 22, 2011 -- DMN Newswire--2011-6-22--LAKE SUCCESS, N.Y., June 22, 2011 Serving the TV industrys voracious appetite for HD programming is Chicago-based Trio Video, a leading mobile production company that provides facilities and crews nationwide for broadcast and cable clients, entertainment companies, professional sports teams, and major corporations. Among the half-dozen advanced mobile units Trio Video operates is Tempo, a 48-ft. trailer (with a 29-ft. expandable side) that is outfitted with an array of advanced HD equipment carefully selected to provide the finest picture quality along with reliable operation amid the demands of HDTV location production. Included in this equipment array are six long-zoom HD field lenses and five portable HD zoom lenses, all of which are from Canon U.S.A., Inc., a leader in digital imaging.

Out in the field, we need all of our equipment working all the time, and our vendors have to be available 24/7 in the event that theres an issue, stated Peter Kimball, Trio Videos director of program development and production. ?Canon provides us with that level of reliability, customer service and support, and thats what convinced us to go with Canon for Tempo. Canon lenses mounted on Tempos HD cameras include two XJ86x9.3B and four XJ75x9.3B long-zoom HD field lenses, three HJ22ex7.6B long-zoom portable HD lenses, and two HJ14ex4.3B wide-angle portable HD zoom lenses.

Equipped with Canons sophisticated built-in Optical Image Stabilizer, or ?Shift-IS system, the XJ86 and XJ75 long-zoom HD field lenses are designed to provide cameras with rock-solid images even at telephoto distances. The XJ86 is available in three versions (including Auto Focus and extended telephoto), and is Canons most popular long-field HD zoom lens in the emerging fleets of HD mobile television facilities, and is used for leading U.S. sports telecasts. The XJ75 long-zoom HD field lens is also designed for flexible coverage of all forms of sports and entertainment events, and combines the best in leading-edge optical, mechanical, and digital technologies to provide excellent performance with modest size and weight at a lower budget level.

Both the XJ86 and XJ75 long-zoom HD lenses are part of Canons DIGISUPER line of high-performance field and studio lenses. All feature an advanced, computer-aided lightweight design, specialized multilayer coatings on each optical element, and Canons second-generation digital servo systems for improved ease-of-operation as well as superb tactile control of zoom, iris, and focus; precision repeatability of settings; and microcomputer compensation of lens-focus breathing (the inadvertent alteration of field-of-view when operating the focus control).

Portable HD lenses chosen by Trio Video consist of two of the newest products in Canons HDxs line, which combines the highest optical performance with the most advanced technologies. The HJ22ex7.6B is the longest-focal-length portable HD production lens offered by Canon (without an image-stabilization system). Offering an unusually broad range of creative options, the HJ22 portable HD lens is designed for long-distance shooting combined with wide-angle capture in a lightweight (4 lbs.) form factor. Providing exceptional wide-angle performance, meanwhile, is the HJ14ex4.3B portable HD zoom lens, which combines an extended 14 times zoom range with a minimum focal length of 4.3mm and an angular field of view of 96.3 degrees at the wide end of the 16:9 HD aspect ratio, making it the widest-angle portable HD lens in the industry. The 14x zoom range of this lens reaches to 60mm (120mm with extender), which greatly expands creative options for the acquisition of crystal-clear, and virtually distortion-free HD video images. Canons mastery of computer-based optical design techniques and new multi-layer optical coating technologies ensures superior imaging performance without distortion.

Were impressed with the high quality of images that all our Canon lenses put out, Kimball affirmed. ?Whether its tight or wide, we get consistently great looks throughout the focal length.

Both the HJ22 and HJ14 portable HD zoom lenses also feature Canons unique Digital Drive unit built into the hand grip, enabling camera operators to pre-program precise and repeatable settings for iris, focus, and zoom positions and speed, if desired. The Canon-developed ultra-compact rotary encoders inside the Digital Drive units that make this feature possible can also output this positional lens data via a connector so it can be used with virtual studio systems. ?Our industry is based on volume and reliability, Kimball added. When we show up with Canon lenses, we know what to expect, which is that theyll work flawlessly. Thats satisfying to us, our customers, and their viewers.

About Canon U.S.A., Inc. Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked fourth overall in the U.S. in 2010?, with global revenues of more than US $45 billion and is listed as number five in the computer industry on Fortune Magazine's Worlds Most Admired Companies 2011 list. 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. At Canon, we care because caring is essential to living together in harmony. Founded upon a corporate philosophy of Kyosei "all people, regardless of race, religion or culture, harmoniously living and working together into the future" Canon U.S.A. supports a number of social, youth, educational and other programs, including environmental and recycling initiatives. Additional information about these programs can be found at . To keep apprised of the latest news from Canon U.S.A., sign up for the Company's RSS news feed by visiting .

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