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Schneider Offers Lens Adapters for Sony PMW-EX1

Schneider Optics unveiled a new line of Century HD lens accessories for Sony’s PMW-EX1 camcorder, which records on two solid-state compact flash cards. The new optical attachments extend the focal capabilities of the camera’s fixed lens.

Available in March, there’s a new .6X HD wide-angle adapter, .75X HD wide-angle converter, 1.6X HD tele-converter, super fisheye HD adapter, and an extreme fisheye HD adapter. Each one is equipped with a bayonet mount for quick and easy installation and removal from the front of the camera lens.

The new Century Pro Series HD lens accessories produce pristine images with low distortion and superior contrast edge to edge. Multi-coated glass elements provide sharp images without distortion or chromatic aberration.

U.S. MSRP starts at $490.00.





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پنجشنبه 25 بهمن 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses

New P2 Mobile Offers Extended Record/Playback in the Field

Panasonic has upgraded its portable P2 solid-state recorder/player with a number of new features that make it more versatile for on-location HD production. The new AJ-HPM110 unit adds cost-effective native 1080/24p recording, a 1080/24PsF input/output and longer record times to the capabilities of its predecessor, the AJ-HPM100.

It can now record 24 frames natively. In this mode, only the active frames (23.98 psf and 24 psf) are recorded, not the pull-down. This provides more than two times the capacity you'd normally get on a P2 card. Steve Cooperman, P2 Systems product manager, said it means that if you're recording in 720/24p HD mode, six 32 GB P2 cards will give you eight hours of record time on a $12,000 device. The company also offers an optional AVC Intra 100 card (AJ-YBX200G codec board for $3,000), which allows a user to record four hours of 10-bit 1920x1080 recording, on six 32GB cards. And this can be used with any camera outputting a 1080p/24 signal.

The new P2 Mobile unit also offers PSF input and outputs, allowing those using an HD camera with a 23.98 PSF output to record into the unit. There's also a pull-down removal function, so you can play back content that was recorded in native 1080 23.98 p as 1080 23.98/24 psf on playout.

The AJ-HPM110 also offers instant playback of variable frame rates for viewing in the field. The unit records independent-frame DVCPRO HD/50/25 and DV formats as well as offering up/down/cross and aspect conversion.

The HPM110's six P2 card slots allow users to record continuous, extended clips in sequence onto P2 cards or to output an extended play-list from five mounted cards to the sixth card slot.





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پنجشنبه 25 بهمن 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses

Sony Ships LCD Heir To Popular CRT Monitor

With more than 100 units backordered, Sony has begun shipments of its new BVM-L230 LCD high-definition “critical evaluation” monitor. Customers like Discovery Communications and Crosscreek Television Productions are said to be eager to get their hands on them. That’s because the new monitor comes close to (and maybe matches?) Sony’s workhorse BVM series CRT-based monitors—which is no longer being manufactured—in terms of color saturation and black-level reproduction.

Discovery Communications will use them as a key evaluation technology for its in-house post-production facility while Crosscreek Television will install three on board its new HD production trucks for live sports programming. The wide variety of users offers proof of its value to the HD production industry.

The 23-inch monitor (viewable area, measured diagonally) features a high-precision backlight system and a new TRIMASTER display engine that has been in development by Sony in Japan for the last five years. It includes a 10-bit driver that Sony says produces 1,024 levels of gray scale. Sony said the new LCD monitor will provide about twice the life of the discontinued BVM series CRT monitor (which offered about 20,000 hours).

Leveraging more than 40 patents that make up the TRIMASTER technology, the BVM-L230 also offers a newly developed wide-color-gamut panel, color-management system, full 1920 x 1080 resolution), high gray-scale gradation, motion picture response, precision signal processing, calibration and feedback system. There’s also a new color-space selection function, picture-in-picture display and a true interlace display mode, which helps to accurately reproduce interlaced signals.

“There are many people who feel that CRT monitors are the end-all and be-all,” said John Kaloukian, director of Sony's Professional Display group, noting that broadcasters, production companies, rental houses and mobile production companies have all pre-ordered the product. “I think we’re going to have trouble meeting the demand we’re seeing for this LCD monitor. The product has only been demonstrated in prototype form and we’re backordered. I think we’ve changed a few minds about the value of LCD as a critical evaluation monitor.”

Sony said it will offer larger screen sizes, including a 42-inch version that’s planned for next year’s NAB convention. The BVM-L230 LCD video monitor will be available this fall for about $25,000. The 24-inch BVM CRT model used to list for about $26,000.

Crystal Vision’s HD 2 Simplifies Chroma Key

Crystal Vision, the UK-based chroma key specialist, has introduced the Safire HD 2, a new “affordable” high-definition chroma keyer that simplifies the keying process by being more tolerant of problematic colors.

The Safire HD 2 card uses a new feature called Selectable Color Suppression, a technology that grants more tolerance to “difficult” colors in the foreground of the image. This kind of problem can occur, for example, when a subject wears blue clothing in front of a blue screen.

This color tolerance is achieved by using two sets of hue and acceptance angle controls. These controls generate the key signal by deciding whether a pixel in the output is foreground or background. The system then produces a suppressed foreground by removing the key color from the foreground.

Safire HD 2 extracts the information for these two uses separately, allowing the operator to set different (and ideal) values for each function. The process, along with gain for key signals in low light conditions, results in an overall better chroma key effect.

The new chroma key card also offers improvements to the shadow processing. Shadows, the company said, can add realism to the final image in a virtual studio application but can traditionally make it difficult for operators to get a good balance between producing a solid chroma key and retaining the shadows.

Safire HD 2 allows users to set up their chroma key first and then adjust their shadow enhancement separately with an increased level of control—making it easier to get clean and natural-looking shadows.

Crystal Vision chroma keyers are part of a modular system and can be housed alongside any other products from the range—including video delays, which are essential in a virtual system. Fitting in the four standard frames (available in 4U, 2U, 1U and desk top box), Safire HD 2 is a "double decker" 100mm x 266mm board and is used with the RM32 frame rear module to access the inputs and outputs.





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چهارشنبه 18 مهر 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses

In the new Nike spot directed by Michael Mann via Wieden + Kennedy, Portland, Asylum FX was charged with seamlessly transitioning two star football players – Shawn Merriman and Stephen Jackson – from game to game, stadium to stadium in varying weather conditions, day and night. This meant a ton of rotoscoping, repositioning the original camera angles in CG, modeling and lighting six stadiums and populating them with screaming fans, populating the sidelines with players, adding rain and snow to certain shots and, finally, managing and combining all these elements to work cohesively.





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پنجشنبه 12 مهر 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses

Tapeless Recording Media Storage Capacity Grows

Tapeless acquisition systems continue to improve, providing more capacity and faster transfer rates in the same form factor.

There’s new word that Panasonic has increased the capacity of its P2 cards to 32 GB and Sony now offers a dual-layer blue-laser optical media disc. And, working with Iomega, Thomson’s Grass Valley REV Pro media is also rumored to be available in larger capacity cartridges soon. When all of this new data-storage media is available—only the new optical disc is currently—each system will offer more than twice the record time of a year ago.

Panasonic’s new 32 GB P2 solid-state memory card (model AJ-P2C032RG) will be available in November carrying a suggested list price of $1,650. A 16 GB P2 card ($900 list) has been shipping since May. With five 32GB P2 cards installed, the AJ-HPX3000 and HPX2000 P2 HD camcorders can record for up to 2.5 hours (over 3 hours in 24p) in AVC-Intra 100 or DVCPRO HD compression and 5 hours (over 6.5 hours in 24p) using the built-in AVC-Intra 50 or DVCPRO 50 codec.

Panasonic said the 32 GB card is fully compatible with the current 16 GB P2 card, so users who’ve upgraded their P2 products and computer system for 16 GB operation (a free firmware download) can use the 32 GB cards. P2 users who haven’t completed this upgrade must do so before using the 32 GB cards.

[Editor’s Note: The 16 GB P2 card is compatible with all AG-HPX500 recorders and with AG-HVX200 camcorders carrying a serial number beginning with E7xxx0001. The 16 GB card is also compatible with AJ-PCD20 drives beginning with the serial number E7xxx0001.]

At $60 per disc, Sony’s new dual-layer version of the XDCAM Professional Disc media more than doubles the storage capacity (from 23.3 to 50 GB) and recording capabilities of the original single-layer optical media.

The new dual-layer disc, model PFD50DLA, gives users up to four hours and 30 minutes of HD recording when shooting in MPEG HD 4:2:0 mode at 18 Mbps, or 3 hours and 20 minutes at 25 Mbps and 2 hours and 30 minutes at 35 Mbps. (It also captures in DVCAM mode, 25 Mbps, where shooters get about 3 hours and 10 minutes.) The PFD50DLA media works with the Sony PDW-F355L XDCAM HD camcorder, PDW-F75 deck and PDW-U1 drive unit. It will not work with first-generation XDCAM SD or HD equipment.

Meanwhile, Sony announced that its PMW-EX1 XDCAM EX camcorder (which was previewed in prototype form in April) will also ship in November, recording to two solid-state Sony SXS flash memory cards. The new HD camcorder can accommodate two cards (an 8 GB card ships with the camera and a 16 GB will be available soon). The SXS memory cards, to be available through Sony or SanDisk, are provided in the PCIExpress form factor—not the PCMCIA format used in the Panasonic P2—with 800 Mbps data-transfer capability.

Company reps said they’re still unsure how many cards will ship with the camera, but two 8 GB SXS cards (at $500 each) offer about 90 minutes of record time at 25 Mbps and 45 minutes at 35 Mbps. The 16 GB cards (listed at $900 a piece) offer 140 minutes at 25 Mbps and 100 minutes at 35.

Sony said the PCI Express card slot found in most new laptops and desktop computers will obsolete the PCMCIA card, and even offered a quote from a website that warns developers the format will not be supported going forward.

As for Thomson, production models of the Grass Valley Infinity camcorders will begin shipping soon, so demand for more storage than what the current 35 GB version (about 45 minutes of 1080i HD at 75 Mbps; more than two hours in 25 Mbps HDV), offers will be certain. The REV Pro disk cartridge costs about $70.





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چهارشنبه 4 مهر 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses

Sony Offers Entry-Level Pro HDV Camcorder

Just in time for Christmas, Sony will deliver a new entry-level professional HDV camcorder with a documentary-style shoulder-mount design that’s priced under $2,000. The HVR-HD1000U is being targeted at wedding video photographers, educational institutions, and freelancers.

With a Carl Zeiss Vario-Sonner T* 10x optical zoom lens, the camcorder supports both HDV and DV. In DV mode, the unit can work exclusively as a DV camcorder. When needed, it can be instantly switched to HD mode. An optical image stabilizer shifts the lens vertically and horizontally to compensate for the polarized light axis in real time.

Equipped with a single 1/2.9-inch CMOS sensor, the system has several downconversion modes that output converted standard-definition signals to legacy production systems while retaining an HD master tape for future use.

The camcorder has both an LCD monitor and an electronic view finder (EVF). The LCD monitor, with a 180-degree tilt mechanism for a high or low angle positioning, is in front of the camera operator when the camcorder is shoulder-mounted. This layout enables traditional EVF monitoring, as well as LCD monitoring for the operator even while the camcorder is held on the shoulder.

A “Smooth Slow Rec” function allows the operator to perform slow-motion playback by capturing images at four times faster than the normal field rate (240 fields/second). In this mode, quad-speed images are captured for three seconds, stored in the camcorder’s built-in buffer memory, and then recorded to tape (in either the HDV, DVCAM, or DV formats) as slow-motion pictures lasting 12 seconds. When using this function, the resolution of the camera image is decreased.

A multi-function assignable lens ring is located on the lens assembly, and any one of the following functions can be assigned to the ring for easy adjustment: focus (default), zoom, brightness, shutter, auto exposure shift and white-balance shift.

For more information, visit http://www.sony.com





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چهارشنبه 21 شهریور 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses

Adobe Supports H.264 in Flash

Flash media technology creator Adobe has updated its Internet player to support H.264 video—a compression standard that can dramatically improve image quality over the Internet. The player enables “the delivery of HD television quality and premium audio content through the ubiquitous Adobe Flash Player,” Adobe said in a statement.

The H.264 AVC format has been gaining momentum. Apple employs the H.264 format in its QuickTime technology, Apple TV and the iPhone. It is also the same video standard used in HD DVD and Blu-ray optical video players and many late-model cable and satellite set-top boxes.

Since Flash media players reside on 98 percent of all desktop personal computers and millions of portable devices, the new player rapidly enabled a vast improvement in video quality. It is expected to impact the quality of the expanding universe of online video that includes popular social networking sites including YouTube and MySpace.

Adobe’s player supports the H.264 compression format, the HE-ACC standard for audio, and supports hardware-accelerated, multi-core enhanced full-screen video playback. H.264 encoding was recently added to Adobe’s own Media Encoder.

Unlike the standard export commands, which generate files in editing formats, the Adobe Media Encoder exports files in distribution formats. These are more-compressed formats such as MPEG-1 used in CD-ROM authoring; MPEG-2 used in DVD authoring; H.264 MPEG-4 used for video iPods, 3GPP cell phones, PSP devices, and high-definition TVs; or web-friendly formats like Adobe Flash Video, QuickTime, RealMedia (Windows only), and Windows Media (Windows only).

While the infrastructure to distribute and display HD Web video is beginning to take shape, it will take time for HD programming to appear online. Producers of Flash video must first encode their programming for the HD format.

The public beta version of the update to Adobe Flash Player 9 software, code-named Moviestar, which includes H.264 and HE-AAC functionality, is available as a free download from Adobe Labs at http://labs.adobe.com . The final release is expected to be available via update in the fall.





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چهارشنبه 21 شهریور 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses

Digital Vision Unveils Nucoda SD & Nucoda HD Grading/Finishing Systems

Digital Vision, the premier supplier of picture enhancement systems for film and television post-production, will unveil two new offerings, Nucoda SD & Nucoda HD, at IBC, stand 7:731. The new colour grading and finishing systems are developed specifically for the requirements of broadcast television programming and new media formats such as HD-DVD, Blu-ray, broadband VOD and mobile. They are the industry’s first master grading systems with built-in tools for optimising compressed, tapeless broadcast and distribution formats.

Nucoda SD & Nucoda HD are based on the same software framework as Digital Vision’s Digital Intermediate line of grading and finishing systems— Data Conform, Film Cutter and Film Master. They are designed specifically to streamline the finishing of content for broadcast and multi-format delivery in a file-based environment. They offer extended support and integration for broadcast formats and metadata exchange including MXF, Apple QuickTime and Avid DNxHD media and AAF multi-track programme timelines, and the ability to colour grade and finish file-based media natively, without transcoding or VTR tape, in an open environment. As with all of the company’s grading and finishing systems, customers may optionally add DVO image enhancement tools. Visitors to Digital Vision’s stand will see demonstrations of key capabilities including:

Multi-track nonlinear editorial controlNucoda SD & Nucoda HD provide powerful sequence assembly tools and the ability to bring program edits in from the offline editing process within a paradigm familiar to editors. Users can incorporate editorial changes immediately and easily, without having to re-grade sequences or shots.

Support for long format programmingThe system is built to handle multi-hour shows with thousands of list events. Efficient background processing virtually eliminates the render time typically associated with software-based systems prior to lay-off after grading sessions, while preserving the creative flexibility of non-linear workflow in record or source order.

Integration with data or tapeVideo ingest and video output are directly integrated with SDI video monitoring from the timeline with 4:4:4 RGB HD-SDI quality. Users can return graded material to tape while maintaining the original source timecode and with optional shot handles.

Simon Cuff, Digital Vision’s President and COO, said, “Digital Vision turned its focus to developing file-based workflows for television post early on, and many of our customers use the Film Master system today to grade and finish content for broadcast television along with films and commercials. This experience has shown us that the requirements for a system facilities use to grade 120 minutes of feature film footage over six weeks are inherently different from that of a broadcaster processing five or more hours of footage every week, or grading programs hours before they air. With Nucoda SD & Nucoda HD for this type of scenario, TV-based facilities don’t have to work within a less-familiar film metaphor, or pay for features they simply won’t use, to get a powerful grading and finishing system for SD and HD work.”

Pricing & Availability
Nucoda SD & Nucoda HD will be available as a turnkey system or as a software-only offering for a range of Windows-based systems. Expected availability is Q4 2007. Pricing will be announced at availability. Please contact Digital Vision for further information.





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شنبه 17 شهریور 1386
کمال پورحنیفه Kamal Pourhanifeh
Wide Selection of Canon Lenses


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