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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.

Monday, January 20, 2014
Anonymous

BUDGET ZONE PROJECT: Joby Gorillatorch Flare Light Painting

BUDGET ZONE PROJECT: Joby Gorillatorch Flare Light Painting

This is considered a "budget zone project" because you can repurpose this Joby Gorillatorch Flare ($29.95) to create some cool Light Painting using the Red Emergency Light feature on the flare and some other equipment you already have.

What you need for this project:
1. Joby Gorillatorch Flare ($29.95)
2. DSLR with a long exposure
3. Remote Shutter/ Timer or Intervelometer
4. Tripod
5. An interesting subject


How to Light Paint:
Light painting is an incredibly fun technique in which photographers use flashlights, camera flashes, and spotlights to literally paint light into a scene. It is required that you have your DSLR on a tripod and use some type of remote shutter.
1. To begin, I like to adjust my composure to accent the dramatic sky.
2. Red light is dimmer than regular light and so you will need longer painting times to achieve the same level of brightness as you would with white light.
3. Set your shutter to around 30 seconds.
4. Using the remote, press the shutter and begin painting your scene. It may take you several attempts to compose the scene exactly how you envisioned it.
5. For more dramatic shots, it may require you to take multiple shots and put them together while editing your photo.

Here is a great article featuring Light Painting with the Joby Gorillatorch. This is the image captured below using 3 Joby GorillaTorches:

We painted the foreground by hiding one light in among the rocks of the structure and leaving it turned on for the whole exposure.   Once the foreground light was placed, I triggered the shutter, carefully scrambled up the structure and hit a pose.  When going for the silhouette effect, make sure your model chooses a pose that they can hold for several minutes.  While I posed, Lotus painted the structure from the inside using two Gorillatorches, being careful to fill in every nook and cranny.  In order to get the full inside of the ruin, Lotus did a fair amount of crawling around and hit it from all angles.  We composed this shot several times to get a variety of exposures levels and shutter speeds.  For this specific image, the camera was set to ISO 100, at f/9, for 30 seconds. - From Joby.com







Other Examples of what you can create:
 Photo by Kenneth Enstad
Photo by Kenneth Enstad
Photo by Kenneth Enstad

BUDGET ZONE PROJECT: Joby Gorillatorch Flare Light Painting
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