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    • Sony Unveils HDC-4300 World’s First 4K System Camera with Three 4K Image Sensors

      Press release from #NABShow by blog.Sony.com Las Vegas, April 12, 2015 – Sony’s next generation of HDC series camera technology provides the ability to use the high magnification wide zoom range lenses currently employed by HD 2/3-inch systems while maintaining an adequate depth of field to properly show all of the action in live event broadcasting. The new HDC-4300 is the world’s first camera to use three 2/3-inch 4K image sensors¹. It supports the same B4-mount lenses as well as the same control surfaces as Sony’s industry leading HDC-2000 series cameras. The existing HDLA-1500 series, control and shading systems, viewfinders and master set-up units are all interchangeable between the HD and 4K systems. Directors and operators can keep their approach to live events — including camera angles, zoom ranges and iris settings – while using familiar camera technology. “This camera provides 4K capabilities and a workflow that content producers are instantly familiar and comfortable with,” said Rob Willox, marketing manager for content creation systems, Sony’s Professional Solutions Americas. “We’ve developed an approach that allows the large existing HDC series user base to employ 4K advantages such as 8x high frame rate and 4K cut-out and zoom while using a familiar infrastructure and signal path.” The new HDC-4300 is capable of 4K/HD operation, with 2x, 3x Super Slow Motion as standard, and higher speeds up to 8x available, to produce high-quality replays and specialty program effects. The camera uses ultra-high-precision alignment technology to realize three 4K sensor on a new prism. This allows the support of the next-generation ITU-R BT.2020 broadcast standard’s widened color space for future-proof masters or post production options for today’s productions, shown on tomorrow’s 4K services. Direct attachment of B4 HD lensesStandard large-format B4-mount lenses mount directly onto the HDC‑4300. This gives broadcasters the flexibility needed for live sports broadcasts: 4K capabilities while maintaining their customary HD-lens operating styles. SZC-4001 SoftwareSony’s SZC-4001 software package (sold separately) allows broadcasters to take advantage of 4K capabilities. Super Slow Motion (up to 8x) at HD ResolutionThe SZC-4002 software package (sold separately) enables the system to shoot full HD (1920 x 1080) at frame rates up to 479.52/400 fps, as well as 59.94/50, 119.88/100, and 179.82/150 fps. Users can save these high-frame-rate shots to Sony’s PWS-4400 multiport 4K/HD Live Server. HD/4K Live Production for Sports  The HDC-4300 accepts the same configurations as existing 4K live systems. A BPU-4000 baseband processor unit receives the camera signals via SMPTE fiber and connects to an HDCU-2000 or 2500 camera control unit. This provides power and full intercom, tally, and return capabilities.Users can seamlessly blend an HDC-4300-based system with existing HDC Series camera systems. The HD signals from the HDC Series cameras and from the new camera system can be adjusted to match colorimetry. The addition of other 4K products, such as the PWS-4400 multi-port 4K/HD Live server, a multi-format switcher capable of real-time 4K signal processing based on the MVS-8000X, and Sony’s new BVM-X300 4K OLED or PMW-X300 4K LCD monitors create an end-to-end 4K live production solution. HDC-4300 – additional features:• HD cut-outs – two full HD images to be cut out from the 4K picture in real-time including a selectable zoom and perspective mode.• Many of the Picture adjustment functions of HDC Series cameras are supported by the HDC-4300 system• Dynamic focus (4K focus-assist function) – a focus point can be displayed on the viewfinder with a marker in 4K mode for easy focusing.• Auto lens aberration compensation 2 (ALAC2) function• Color reproduction adjustment functions• Gamma table selection• User gamma function• Natural skin-tone detail function• Knee saturation function• Low-key saturation function The HDC-4300 4K/HD live camera system is planned to be available in summer of 2015.

Wednesday, February 23, 2011
Anonymous

Understanding the Rule of Thirds

No one wants to watch a hunting video that is just the camera pointing in the same location or having the subject directly in the center of the shot. There are different techniques when it comes to framing your subject that can be used by just placing your subject in a different location.

The still images below are screenshots taken from DrivenTV's Australia 2010 Trailer (click the link to watch)

Framing is a technique that is used in videography and photography to bring the focus to your subject. One rule of thumb is the "Rule of Thirds" that states that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections.(2)  Aligning a subject using these points can create more tension, energy and interest in the subject more than simply centering the subject.  If you line up your subject in an equal distance from all sides there is no implied need to move, the subject is static. The object is balanced, and therefore at rest. This implies no tension or energy. Of course, the "Rule of Thirds" is just a guideline. If balance is what you are trying to express. then central placement of your subject is the way to go.


Notice in the screen shot to the left that the the hunter is at the bottom right intersections and the animal is in the upper thirds of the shot. This adds depth and tension to this shot.






Notice how the same tension and depth is created when the hunter is now in the left lower-thirds intersection.
These same guidelines can help with setting up close-ups as well. In close-ups the subject will be in more of the shot but strategically placing the key focal points by intersections creates a dramatic shot. Notice how the two main focal points in this screenshot are Nicole's eye and the point where the arrow meets her mouth. This shot allows the audience to focus in on her eyes showing her focus on something and her mouth to show how much drive she has.

Another way to work with the "Rule of Thirds" is when you have multiple subjects. In this shot there is the water buffalo (peeking out on the ridge) and the Hunters. A Counterpoint is when you place one subject at a focal point and the other subject at its diagonal opposite. Remember that the "Rule of Thirds" is just a guideline and your subject(s) do not have to land exactly on a focal point, just close enough to still portray meaning.


It is common practice to place the horizon line along the one-third line or the two-third line of the grid, rather than in the middle. Most beginning videographers will make the mistake of placing the horizon in the middle, which creates a dull and uninteresting shot. Pat Reeve plays around with his horizon shot here by placing it in the upper thirds and at an angle for a different and more interesting shot.


Citation
(1) Pat Reeve (2010). Australia 2010 Trailer. DrivenTV.
(2) Bryan F. Peterson (2003). Learning To See Creatively. Amphoto Press.

Understanding the Rule of Thirds
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