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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.

Thursday, February 28, 2013
Anonymous

Understanding DSLR Lenses

Understanding DSLR Lenses

DSLRs are becoming more popular with outdoor videographers and are used everywhere in the TV/Movie industry. Making the move from video cameras into DSLRs can be a bit challenging. We've asked and answered some of the top questions when it comes to choosing a DSLR Lens.

How does the focal length of a lens effect the image?
Without getting into the physics of it, every lens is defined in millimeters, and this is defined as the camera's focal length. Think of it this way: focal length has an effect on how much of a scene you can see through the lens.

A short focal length allows you to stand close to your subject so that they fill the frame and things in the background seem farther away than normal. Wide-angle Lenses have short focal lengths and a wide-angle of view.
Examples of short focal lengths are 15mm, 20mm, 35mm.
A long focal length allows you to stand far away from the subject so that it still fills the frame, but that things in the background seem closer than normal. As the focal length of the lens increases, the viewing angle decreases (less in your shot).
Examples are 85mm, 105mm, 300mm.

Notice how there is a lot more scenery in the shot with the 18mm lens than the 300mm

What is a standard lens?
Standard lenses are going to be your all-around lens. First, we need to take a look at the camera's image sensor. Most of your professional DSLRs have a "full-frame" image sensor. On a full-frame sensor, the standard lens is 50mm. A 50mm lens on a full-frame DSLR captures roughly the same view as the human eye. When you place a 50mm lens on a DSLR with an ASP-C Sensor (cropped sensor) it is like placing a 75mm on a full-frame DSLR (less in your shot). Therefore, to get the equivalent of a 50mm on a regular DSLR, you should use a 35mm lens.
Standard Lens:
Full-Frame DSLR: 50mm
APS-C DSLR: 35mm


What is a Prime Lens? 
Prime lenses have a fixed focal length. Meaning, the only way to make your subject bigger/smaller is by moving yourself closer or farther away from your subject. Prime lenses only give you one focal length, however they are less expensive and lighter than zoom lenses. Prime lenses also tend to give you a faster maximum aperture.
Examples of a prime lens would be a lens labeled as "24mm", "50mm", "80mm", "100mm" etc.

What are Zoom Lenses? 
Zoom lenses have variable focal lengths, which you select by twisting the lens barrel. Most people are familiar with zoom lenses and are included in most DSLR kits. They’re great for re-composing images without having to change lenses and the flexibility makes them convenient to use for all kinds of situations. However, you often pay for the convenience with increased weight and compromised optics. Typical focal length ranges are given as the minimum and maximum focal length, e.g. 18-135mm, 17-50mm, 24-70mm.

What is considered a wide-angle lens? 
Wide Angle lenses allow you to fit a lot into an image. They are useful for landscapes and are great for use in a ground blind where you have a limited amount of space but a lot to get in the shot. If your ASP-C DSLR camera kit includes an 18mm-___ Lens, remember that this will give you the effect of a 27mm Full-Frame DSLR. You will want to look at lenses in the range of 10mm to create this "wide-angle" effect on your APS-C Sensor Camera.
However, be aware that when using wide angles there is some distortion at the edges, especially at the widest setting. Subjects closer to the lens will seem much larger than distant ones. Compose your shot to embrace (or avoid) these effects.


An extreme case of a wide-angle lens is the Fish-Eye Lens.
Example Video of a Time Lapse done using various Wide-Angle Lenses:


Celestial Lights from Ole C. Salomonsen on Vimeo.


When would you use a telephoto lens?

Telephotos are ideal when you can't get close to your subject or when you are looking for a frame filling landscape. They’re essential for getting close to timid wildlife, too. However, they are prone to camera shake, so use a tripod during the exposure to ensure you get sharp pictures. Pictures taken on telephotos tend to look 'flat', and a bit more two-dimensional. They compress the background and foreground so that it’s hard to tell how far distances are between objects.

Example Video using a Telephoto Zoom Lens:
Rocky Mountain Elk Bugling from Jonathan Black on Vimeo.


When would you use a Macro Lens?
Macro lenses allow you to get very close to your subject to produce images that are life size or larger. Macro lenses come in a variety of fixed focal lengths, ranging from 50 to 200mm. True macro is considered to have a reproduction ratio of 1:1 magnification or higher.
1:1 simply means that the subject size on the image is the same as the size of the subject in real life.
Beware of zoom lenses that say they are Macro. They will typically only give you a 1:3 reproduction ration (that's 1/3 life-size on the image sensor).
Macro photography/ videography is good to use when your subjects are small such as insects/bugs or flowers. Macro lenses can provide you with some really good B-roll shots.

Example video using a Macro Lens:

Macro Insects (7D + 100mm F2.8L IS Macro) from Hampton Road Studios on Vimeo.


Understanding DSLR Lenses
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