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July 2008
Two Twists on Canon XL H1 Online
Building on the success of the XL H1 HD camcorder, Canon U.S.A. has introduced the shoulder-mountable XL H1S and XL H1A HD camcorders, which include new user-requested features for improved operation and image control.
Iconixs New POV Online
Iconix Video has introduced the next generation of its HD-RH1F camera, the Studio2K.
Clearing Up Camera Specs Online
On April 3, Panavision’s Woodland Hills, Calif. facility hosted the seminar “Demystifying Digital Camera Specifications,” presented by John Galt, Panavision’s senior vice president of Advanced Digital Imaging, and Larry Thorpe, Canon’s Broadcast & Communication national marketing manager.
Imagica Plugs In O-gi Online
Imagica Technologies Corp. has introduced O-gi, a new set of image-quality-enhancement plug-ins for Autodesk Inferno, Flame, Flint, Fire and Smoke systems, offering noise-reduction and clean-up filters designed to help improve a range of image-quality problems.
Pro Keying with Primatte Online
Imagica has licensed its Primatte chromakey technology to Red Giant Software, who has developed the Primatte Keyer Pro 4.0 set of plug-ins, providing support for Primatte within Adobe After Effects and Avid systems and, for the first time, Apple’s Final Cut Pro and Motion.
Imager XE Incorporates DVO Grain Management Online
Imagica has licensed Digital Vision’s motion-compensated DVO grain-management software, integrating it with the Imager XE film scanner.
Conveying New Dailies Workflow Online
After more than a year in development, including beta testing at FotoKem and EFilm, MTI Film has begun delivery of Convey, a sister application to Control Dailies that automates the creation of popular file-based formats for dailies deliverables.
Fujifilm Offers P2 Card Online
Fujifilm has introduced P2-format memory cards to round out the company’s line of tape- and optical-storage products, and to reflect the industry-wide acceptance of flash-based hardware as broadcasters integrate new technologies with existing operations and tape media.
Pro8mm Upgrades Canon 1014 XLS Online
Following the success of its Classic Professional Max 8 Super 8mm camera, which features a widened 16x9-format gate, Pro8mm has introduced a Max 8 modification for Canon 1014-XLS cameras.
Panasonic Updates VariCam
Updating its popular VariCam HD camera, Panasonic has unveiled the AJ-HPX3700 and AJ-HPX2700 P2 HD camcorders.
Arri D-20 Turns 21
Based on feedback from field users, Arri has significantly upgraded the Arriflex D-20 film-style digital camera, incorporating the new features in the Arriflex D-21.
Clairmont Increases High-Speed Inventory
Clairmont Camera recently added specially modified high-speed NAC Memrecam fx K4 cameras to its rental roster of digital cameras and support equipment.
JVC Expands Pro Lineup
JVC Professional Products Company has extended its reach in the professional HD marketplace with the 720p/1080i signal-selectable GY-HD200UB ProHD camcorder.
Sony XDCam Family Grows
Hot on the heels of its PMW-EX1 camcorder, Sony has unveiled the upgraded PMW-EX3, featuring similar functionality to the earlier version while allowing users to make lens choices through a new interchangeable-lens system.

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Two Twists on Canon XL H1

Building on the success of the XL H1 HD camcorder, Canon U.S.A. has introduced the shoulder-mountable XL H1S and XL H1A HD camcorders, which include new user-requested features for improved operation and image control. Both cameras boast three 1/3", 1.67-megapixel CCD image sensors; Canon’s proprietary DIGIC DVII HD image processor; and a durable six-pin IEEE 1394 terminal, providing a more robust connection to external hardware. Only the XL H1S, however, provides expanded connectivity by incorporating an HD-SDI/SD-SDI output with embedded audio and time code — providing a raw, uncompressed 1.485 Gbps signal — as well as SMPTE time code input and output terminals and a genlock output terminal for multi-camera shooting situations.

The new camcorders provide users with a wide range of image and color settings, camera-control functions and viewfinder-display choices. Recording to HDV tapes, video can be captured and output in multiple frame rates, including 60i, 30F and 24F. Canon’s Factory Service Center can also provide an optional upgrade to add 50i and 25F frame rates. The camcorders can be switched between 1080-line 16x9 HD video and 480-line 4x3 SD video in any frame rate.

Both cameras also provide Canon’s Total Image Control for customizing image and color settings, and the range of image-color levels within the 23 available custom presets for image-quality adjustment has been extended from +/- 9 to +/- 50 steps for fine-tuning the picture. Custom image files can be stored on an onboard SD/SDHC memory card and shared with another XL H1S, XL H1A or even a Canon XH G1 or XH A1 for seamless multi-camera work.

New functions among the cameras’ 21 operation settings and 33 sub-settings include “shockless” white balance for smooth, color-accurate dissolves between two pre-set white values, adjustable from 2,000° K to 15,000° K; the ability to increase gain in 0.5dB increments from 0dB up to +18dB, with additional settings for -3dB and +36dB; and a selective noise reduction function capable of targeting specific color areas. Additionally, camera operators can tailor the display with 22 settings and 40 sub-settings affecting the camcorder’s 2.4" combination EVF/LCD monitor.

Both cameras come equipped with the new Genuine Canon 20x HD Video Zoom Lens III, which incorporates aspherical lenses to reduce flare and fluorite lens elements to minimize chromatic aberration. The lens also boasts Canon’s SuperRange Optical Image Stabilization system and independent zoom, focus and iris rings, which have been redesigned for easy access and comfortable manual operation. Other features of the lens include three sensitivity settings for the manual focus ring, fast and slow zoom speeds, smooth movement when starting and stopping zooms and selectable rotational angles between the telephoto and wide ends of the zoom range. The lens attaches to the cameras via Canon’s XL lens mount, which allows users to interchange other lenses as well, including Canon’s 6x wide-angle lens and Canon EF photographic lenses.

In response to user feedback, Canon has given the XL H1S and XL H1A two-channel audio performance, two built-in XLR terminals with separate audio-input sensitivity settings, the ability to simultaneously record sound from an external microphone and the supplied internal microphone, line-output-level switching, a manual audio limiter and a metal headphone jack for reliable connectivity. Additionally, both camcorders feature an external LCD-monitor output, simultaneous RCA and BNC video output and a photo-flash accessory shoe.

The XL H1S has a suggested retail price of $8,999 and the XL H1A has a suggested retail price of $5,999.

Online Online Exclusive
contact info:  
www.usa.canon.com
Iconixs New POV

Iconix Video has introduced the next generation of its HD-RH1F camera, the Studio2K. Offering 2K digital-cinema outputs, the point-of-view camera system is designed for scenarios that demand professional image quality but require small, lightweight cameras. “This new 2K-capable camera system signals the continued expansion of Iconix into the digital-cinema market, and it is ideally suited for stereoscopic 3-D applications,” says Iconix CEO Bruce K. Long.

Featuring a total of 45 format and frame-rate conversions, the Studio2K camera system captures and outputs video for 2K digital-cinema formats, including 2048x1080p and 2048x1080PsF at rates of 20, 23.98, 24, 25 and 29.97 fps; HD resolutions of 720p, 1080i and 1080p at rates of 24, 25, 30, 50 and 60 fps; and NTSC and PAL. 2K data is output via the camera’s dual-link HD-SDI ports at 4:4:4 RGB, and all formats can be accessed directly through the front panel of the camera-control unit (CCU), which also features a redesigned recessed power switch for increased protection when used in mobile configurations.

The Studio2K camera system comprises a robust camera head weighing only 2.5 ounces, a 4.0-pound processing-controller unit, a power supply and 3-, 6- and 10-meter cables. The suggested list price for the Studio2K is $16,000.

Online Online Exclusive
contact info:  
www.iconixvideo.com
Clearing Up Camera Specs

On April 3, Panavision’s Woodland Hills, Calif. facility hosted the seminar “Demystifying Digital Camera Specifications,” presented by John Galt, Panavision’s senior vice president of Advanced Digital Imaging, and Larry Thorpe, Canon’s Broadcast & Communication national marketing manager. The seminar, focused on the complex science behind image resolution and digital cinema cameras, is now available online as a series of seven streaming videos.

Designed as a master class for motion-picture professionals and students alike, the series challenges the assumption that digital-camera resolution is simply a matter of the camera’s output pixels. Calling for a scientifically valid, objective method of assessing the quality of digital and film images, Thorpe and Galt explain the difference between optical sampling from camera imagers and the camera’s digital sampling, taking a close look at Modulation Transfer Function (MTF) — the resolving power of each element along the path from image capture to image presentation — and noting the compounding effect of lens MTF, camera MTF and the MTF of subsequent production-system elements, from intermediate film stocks to the projector lens. Ultimately, the series argues, the only rational measurement of imaging resolution is the relationship between the MTF profile of the lens-camera system and the associated residual aliasing in both the horizontal and vertical domains, and the ideal camera system would offer a pragmatic compromise between high MTF and minimum aliasing.

Other topics covered within the context of this MTF metric, which applies to all 2/3" three-imager and 35mm single-imager digital cameras, include the Nyquist theory, optical pre-filtering and imager-sampling lattices. The series also highlights various test charts that enable an objective assessment of MTF and aliasing.

Online Online Exclusive
contact info:  
www.media.panavision.com
Imagica Plugs In O-gi

Imagica Technologies Corp. has introduced O-gi, a new set of image-quality-enhancement plug-ins for Autodesk Inferno, Flame, Flint, Fire and Smoke systems, offering noise-reduction and clean-up filters designed to help improve a range of image-quality problems. Yasushi Mishima, president and CEO of Imagica Technologies Corp., says, “O-gi is designed to address image-quality augmentation issues faced by post houses all around the globe.”

Specific features of the O-gi plug-ins include a Video-Signal Legalizer, which brings luminance and chroma levels smoothly into conformance with “legal” limits by “soft clipping” the illegal signal, helping maintain the original detail; a Wrinkle Diminisher for smoothing and beautifying skin imperfections; a Mach-Band Suppressor, which removes troublesome color banding in digital cel animation; a Video-Noise Detector to isolate sources of visual noise within an image; and an Edge-Preserving Smoother, which eliminates grain noise while preserving edge details.

O-gi plug-in sets for SD and HD versions of Flint and Smoke systems are priced at $5,000, and plug-in sets for 2K versions of Inferno, Fire, Flame and Smoke systems are priced at $8,000.

Online Online Exclusive
contact info:  
www.imagica-technologies.com
Pro Keying with Primatte

Imagica has licensed its Primatte chromakey technology to Red Giant Software, who has developed the Primatte Keyer Pro 4.0 set of plug-ins, providing support for Primatte within Adobe After Effects and Avid systems and, for the first time, Apple’s Final Cut Pro and Motion. Working right from the timeline, Primatte Keyer Pro 4.0 overcomes challenges such as uneven lighting, compression artifacts, subtle shadows and edge-light contamination, producing near-perfect keys with one click.

New features of Primatte Keyer Pro 4.0 include Auto Setup, which analyzes the background color to automatically create keys, and advanced compositing controls with light-wrapping and color-matching features. Additionally, Primatte Keyer Pro 4.0 supports 32-bit processing (for After Effects, Final Cut Pro and Motion) as well as 16-bit processing (for Avid).

Primatte Keyer Pro 4.0 is available for $499; upgrades from previous versions are available for $199.

Online Online Exclusive
contact info:  
www.redgiantsoftware.com
Imager XE Incorporates DVO Grain Management

Imagica has licensed Digital Vision’s motion-compensated DVO grain-management software, integrating it with the Imager XE film scanner. The new standalone system, GR-DV, works in conjunction with the Imager XE to enable the DVO Grain tool to process film frames as they are scanned, reducing the visual impact of film grain without losing image content. Facilities, studios and broadcasters working on film, television, DVD and new media projects can save valuable time with a single-pass scan/grain reduction process.

Imagica’s Imager XE scanner processes 4K frames at 1.9 seconds per frame and 2K frames at 1.3 seconds, with optional 8K scanning support delivering over-sampled 4K images suitable for demanding visual effects and digital mastering. The pin-registered scanner supports the full density range of color negative film stocks. Digital Vision’s DVO Grain software manages the look of film grain and reduces unwanted electronic noise in film and video. Its advanced motion estimation technology prevents lagging, smearing and softening of the picture even with high settings. A mixer function on the final output enables users to bring back as much of the original noise or grain as is desired, for complete control over the filmic look. The Imager XE GR-DV brings all of these capabilities together in a streamlined workflow.

Simon Cuff, president and COO of Digital Vision, notes, “By bringing motion-compensated grain processing directly into the scanning path, Imagica is taking a big step forward in helping its customers save time and costs. Grain management is just one of the common problems facilities face when dealing with high-resolution images, and we’re working with Imagica to bring even more corrective DVO tools to their leadership scanners in the future.”

Online Online Exclusive
contact info:  
www.imagica-technologies.com
www.digitalvision.se
Conveying New Dailies Workflow

After more than a year in development, including beta testing at FotoKem and EFilm, MTI Film has begun delivery of Convey, a sister application to Control Dailies that automates the creation of popular file-based formats for dailies deliverables. Convey shares Project Management, Database and Scanlist parameters found in Control Dailies, facilitating a seamless integration of the two applications and enhancing the power of Control Dailies.

“Convey makes the process of producing dailies deliverables faster, easier and more secure,” says Larry Chernoff, CEO of MTI Film, who adds that the application handles “encoding for all deliverable formats as well as other routine tasks that formerly required the time of a technician and additional costly technology.”

As dailies are processed and approved in Control Dailies, Convey encodes the data into the required deliverable formats. The application features an Auto-DVD module and supports most popular file-deliverable formats, including MPEG-2, Avid DNxHD, ProRes HD, Windows Media 9 and AVI. User-defined bit rates, aspect ratios, window burns and audio mixes are applied automatically. Templates and configurations can be saved and recalled later, eliminating redundant input and setup. Similarly, DVD menus can be created in Convey and recalled later as part of the process of automated DVD authoring.

During the recent National Association of Broadcasters (NAB) conference, MTI Film partnered with Arri to demonstrate a 2K dailies workflow incorporating Convey. In the demonstration, an Arriscan film scanner scanned 35mm film to 2K DPX files, recording them to a SAN. Pandora’s YoYo nonlinear data management technology generated a real-time HD 4:4:4 stream for color correction via a Pandora Revolution color corrector, and Control Dailies then captured the color-corrected media, as well as essential metadata, including an ASC color decision list (CDL). Control Dailies also generated SD proxies of the HD 4:4:4 media. Concurrently, Convey worked in the background to prepare DVDs and other file-based deliverables.

The workflow represented in the demonstration allowed the entire process, from scanning to delivery, to occur in a file-based environment in which several processes could occur simultaneously, resulting in considerable time savings.

Online Online Exclusive
contact info:  
www.mtifilm.com
Fujifilm Offers P2 Card

Fujifilm has introduced P2-format memory cards to round out the company’s line of tape- and optical-storage products, and to reflect the industry-wide acceptance of flash-based hardware as broadcasters integrate new technologies with existing operations and tape media.

The P2 media card was developed for professional broadcasting and production use. Packaged in a rugged, die-cast frame, Fujifilm P2 cards are resistant to shock, vibration and harsh environments. Additionally, the cards offer high-capacity storage of broadcast-quality digital HD video with a fast data-transfer speed. With no need to digitize content, the P2 series employs the Material Exchange Format (MXF), an open file format made available to partner companies. The P2 card can be connected instantly with laptop PCs and major nonlinear editing systems.

Fujifilm P2 cards are available in 16 and 32GB capacities, with a 64GB version to follow later in the year. When the 64GB cards become available, a single card will provide more than four hours of DVCPro footage; more than two hours of DVCPro 50 and AVC-Intra 50; or 64 minutes of AVC-Intra 100 or DVCPro HD. The 64GB P2 card will work immediately with all P2 HD camcorders purchased since May 2007; P2 and P2 HD products purchased prior to that date will require a free, downloadable software upgrade available via Panasonic’s Web site (www.panasonic.com/broadcast).

Online Online Exclusive

contact info:

Fujifilm (800) 488-3854

 
www.fujifilmusa.com
Pro8mm Upgrades Canon 1014 XLS

Following the success of its Classic Professional Max 8 Super 8mm camera, which features a widened 16x9-format gate, Pro8mm has introduced a Max 8 modification for Canon 1014-XLS cameras. The widescreen Super 8mm footage can be transferred on Pro8mm’s customized M2 Scanner or Y-Front Ursa Diamond Scanner, both of which feature custom-modified 16x9 gates.

The Max 8 1014-XLS conversion, which increases the Super 8mm frame’s usable picture area by 20 percent, includes modifying the gate; adding 16x9 frame lines to the viewfinder; removing the internal 85 filter, which can cause image degradation; increasing the take-up torque so thicker modern film stocks are less likely to jam; and recalibrating the exposure system so all Pro8mm film stocks from 50-500 ASA will accurately read. The complete upgrade is available for $995.00. Additionally, Pro8mm has Max 8 1014 XLS cameras available for rent at a rate of $300 per day or $250 with any all-inclusive film package.
Online Online Exclusive

contact info:

Pro8mm (818) 848-5522

 
www.pro8mm.com
Panasonic Updates VariCam

Updating its popular VariCam HD camera, Panasonic has unveiled the AJ-HPX3700 and AJ-HPX2700 P2 HD camcorders. These new 2⁄3" P2 HD models offer master-quality, full-resolution, 10-bit 4:2:2 AVC-Intra 100 recording; variable frame rates in one-frame increments; HD-SDI output of 23.98PsF/24PsF; and a multi-gamma function, including Film-Rec, which simulates the latitude of film stocks.

Panasonic has positioned the VariCam 3700 as the flagship model of the P2 HD VariCam line, delivering the camera with full native 1920x1080 acquisition and independent frame recording with 10-bit 4:2:2 sampling. Additionally, with three 2⁄3" 2.2-megapixel CCDs, the camera is capable of a 4:4:4 RGB dual-link live output, resulting in pristine images ideal for visual effects. Tailor-made for commercial, feature-film and episodic-television production, the VariCam 3700 is also capable of recording in AVC-Intra 50 and DVCPro HD.

Designed for sports, documentaries and independent films, the VariCam 2700 also boasts three 2⁄3" CCDs, producing independent-frame 1080 and 720 images. Like the 3700, the 2700 can also record in AVC-Intra 100, AVC-Intra 50 and DVCPro HD. When shooting in 720p mode, the camera can capture from 1 to 60 fps.

Both new VariCams are switchable between 59.95-Hz and 50-Hz recording, and each camera features five P2 card slots, allowing continuous recording, card selection, hot-swapping, loop recording, pre-recording, interval recording and one-shot recording. With five 32GB P2 cards installed, operators can record up to 200 minutes in AVC-Intra 100 at 1080/24p, 400 minutes in AVC-Intra 100 at 720/24p, 320 minutes in other AVC-Intra 50 formats and 160 minutes in other AVC-Intra 100 or DVCPro HD formats. Additional image-enhancing features found in both cameras include 14-bit A/D processing, Chromatic Aberration Compensation (CAC) to maximize lens performance, Dynamic Range Stretching (DRS) for wide variations in lighting, unique shutter-angle settings, built-in scan reverse and full control of matrix and color correction for precise image matching.

The 3700 and 2700 also share a high sensitivity of F10 at 2,000 lux, and both incorporate 48-kHz/16-bit, four-channel digital audio recording. Text memos and shot markers can be added, and proxy data recording is possible with the optional AJ-YAX800G board. Other features include scene files, user buttons, user-menu and focus-assist functions and newly designed two-wheel (ND and CC) optical filters.

Both the 3700 and 2700 VariCams are backed by Panasonic’s five-year limited warranty.

contact info:  
www.panasonic.com
Arri D-20 Turns 21

Based on feedback from field users, Arri has significantly upgraded the Arriflex D-20 film-style digital camera, incorporating the new features in the Arriflex D-21.

Combining the immediacy of digital cameras with high-end film-style functionality, the D-21 incorporates Arri Imaging Technology (AIT) to produce images with a cinematic look and feel. Through its single Super 35mm-sized CMOS sensor (with a native 1.33:1 aspect ratio), the D-21 offers the same cinematic depth of field that characterizes 35mm-film footage, and the camera is compatible with both spherical and anamorphic 35mm-format lenses. The camera also boasts a bright optical viewfinder, variable-frame-rate shooting and compatibility with Arri film-camera accessories.

Images captured with the D-21 feature improved color saturation and increased sharpness over those captured with the original D-20 thanks to a higher modulation transfer function (MTF) achieved by rewriting the down-sampling algorithm from scratch and carefully fine-tuning the interaction of the optical low-pass filter to the new algorithm. A cleaner signal path, improved internal power management, Defect Pixel Correction (DPC) and the elimination of various artifacts have also led to improved low-light performance. Additionally, color management look-up tables are now available for ASAs 100, 200, 250, 320, 400, 500, 640 and 800.

The D-21’s raw sensor information can be transported in the new ArriRaw format via the camera’s HD-SDI link, embedded in the standard RGBA 4:4:4:4 transport protocol. Arri software tools currently undergoing beta testing can process the ArriRaw files through advanced de-Bayering algorithms and output either an HD image or a 2K data file.

Completing the D-21 camera package, Arri has introduced a number of new hardware pieces, including the S-5 shoulder set and ground glasses for 1.33:1, 1.78:1, 1.85:1 and 2.39:1 formats. All D-21 cameras come equipped with the FEM-2 addition, which provides a built-in radio for wireless lens and camera control and enables the use of Arri Controlled Lens Motors (CLMs) without any additional boxes.

As with the D-20, the D-21’s modular architecture allows upgrading when advances in sensor, electronics or firmware technology become available.

contact info:  
www.arri.com
Clairmont Increases High-Speed Inventory

Clairmont Camera recently added specially modified high-speed NAC Memrecam fx K4 cameras to its rental roster of digital cameras and support equipment. Able to record up to 1,000 fps while maintaining 1280x1024 resolution (and up to 168,000 fps at lower resolutions), the camera system features a 35mm progressive-scan CMOS imaging sensor with ultra-high light sensitivity.

NAC’s Memrecam fx K4 is capable of recording and storing mega-pixel images for up to 14 seconds while shooting at 1,000 fps, and once the camera’s internal memory is full, it is easily downloaded to the supplied portable PC computer for data storage and rendering to postproduction-compatible file formats. Clairmont also offers portable external storage drivers for transporting downloaded image data from location to the post facility.

The camera continually records while it is powered on, though it only saves the image data when triggered; the camera’s trigger can be set to start, center, end or any position in between. When set to center, for example, the camera saves 4.9 seconds of data before and after the trigger point. The footage can then be quickly reviewed via the camera’s NTSC-video output.

Clairmont’s technicians have equipped the NAC camera with a PL mount, enabling compatibility with a wide range of popular 35mm cinema lenses. A custom “riser/power converter” has also been added to the bottom of the camera to facilitate the use of Arri matteboxes and follow-focus systems while providing power for on-board monitors and other electronic accessories.

The camera and all required accessories are available through Clairmont’s Hollywood, Toronto, Vancouver and Albuquerque offices.

contact info:

Clairmont (818) 761-4440 

 
www.clairmont.com
JVC Expands Pro Lineup

JVC Professional Products Company has extended its reach in the professional HD marketplace with the 720p/1080i signal-selectable GY-HD200UB ProHD camcorder.

The new camcorder provides a selectable live-transport-stream output capability of 1080/60i and 50i signals or 720/24p, 25p, 30p, 50p and 60p through its IEEE 1394 connection. The selected output signal can be recorded into JVC’s ProHD DR-HD100 hard-disk recorder or the new MR-HD200U camera-mounted media recorder as either MPEG2 transport-stream files (.m2t) or QuickTime files (.mov).

The GY-HD200UB also offers full-frame 1280x720 progressive imaging and 720p recording as well as a 14-bit A/D converter and a 14.4v power-system standard. The selectable 60p and 60i acquisition capability of the GY-HD200UB is ideally suited for HD news and sports acquisition, and filmmakers benefit from the native progressive-image capture and the “overcranked” recording for slow-motion images during 24p final output.

JVC’s GY-HD200UB is currently available with a suggested list price of $5,995, which includes a 16:1 Fujinon lens and Anton-Bauer battery system. Additionally, the camcorder head can
be purchased alone (model GY-HD200CHUB) for a suggested price of $5,695.

contact info:  
pro.jvc.com
Sony XDCam Family Grows

Hot on the heels of its PMW-EX1 camcorder, Sony has unveiled the upgraded PMW-EX3, featuring similar functionality to the earlier version while allowing users to make lens choices through a new interchangeable-lens system. Sony has also introduced the PMW-EX30 deck and the PHY-60K professional hard-disk unit.

Features of the EX3 camcorder include genlock and timecode in/out
for multi-camera operation. The camcorder’s 8-pin remote connector allows the RM-B150 or RM-B750 remote controllers to adjust basic camera parameters such as gain, iris, white balance, pedestal and gamma for use in studio configurations.

Specifically designed for use with the XDCam EX camcorders, the 1.8", 60 GB PHU-60K external-storage unit features a USB 2.0 interface, giving users approximately 200 minutes of recording time in 35 Mbps HQ (high-quality) mode and 260 minutes in 25 Mbps SP (standard-play) mode. A new “dumping” system, powered by a 3-D G sensor, protects the unit from a 1.5m drop, and buffer memory is used to allow recording immediately after powering on the unit. Additionally, a salvage function enables restoration of content damaged by battery/cable disconnection or other accidental power losses during recording. Approximately 12 hours of continuous operation are possible with a small-size BP-U30 battery.

When attached to a camcorder, the PHU-60K hard-disk unit functions like an SxS Pro card, offering thumbnail views on the LCD panel of the camcorder or the new PMW-EX30 deck, a solid-state memory recorder/player. The 1080i/720P-switchable EX30 includes an HDMI digital connection for use with an external monitor in addition to an HD-SDI in/out for recording live HD content or dubbing to other formats. The deck can also be used as an SxS Pro card reader/writer or to feed content to existing HD or SD nonlinear editing systems.

Lastly, Sony’s Clip Browser software, which ships for free with each XDCam EX camcorder, is receiving a version 2.0 upgrade, enabling XDCam EX content to be used within a DV editing workflow. Optional plug-in software for Clip Browser 2.0 will export XDCam EX files on SxS memory cards to Professional Media discs, allowing XDCam HD optical-disc products to seamlessly interoperate with content shot by an XDCam EX camcorder. Other plug-in software will enable XDCam EX files to be viewed on a range of portable consumer devices or to be uploaded to video-sharing websites.

contact info:  
www.sony.com