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Sony NEX-FS700: 1080p today 4K tomorrow Sony has dropped the NEX-FS700, a follow-up to their well-priced camcorder, the FS100. The FS700 will be the first 4K capable interchange lens camera for less than a reported $9000 (early price predictions point at a $8700 USD price tag). That’s an incredible price for early adopters of 4K capture technology. Sony is smart to get into the 4K market early and to be honest, they need a win to get back on top after losing some of their television market reach to competitors like Samsung and camcorder sales to kids who think a camcorder is a Canon DSLR. What does Sony lose by offering a 4K camera before its competitors and at a lower price point than RED? Nothing. In fact, Sony has everything to gain: not only from consumers eager to get their hands on 4K technology–and willing to switch brands to do so–but from consumers of future 4K material. RED and Canon don’t sell TVs after all, but Sony does (and they need to!). Manufacturers like Panasonic are likely in the same boat. 4K televisions will hit stores later this year, which is all well and good but for the lack of 4K content to fill them. As a new iPad owner I can attest, a higher resolution screen is brilliant only so far as the content on it is high resolution enough to match. The 4K content gap is something Sony is likely looking to fill, not only with the FS700,  but with reports Sony 4K enhanced Blu-ray players and 4K Blu-ray discs are also en route to consumers. I got to say, I’m excited about the 4K prospect, even if it was just yesterday (literally) that I was editing a standard definition video project for a client (crazy, I know). Like the FS100, the FS700 would be a perfect upgrade for DSLR shooters, as it proves to solve issues apparent with DSLR video capture. The announcement also makes it a good time to pick up a FS100; one of the shops in Canada is selling the FS100 with a $900 savings. In addition to 4K via external output, the FS700 will be capable of all sorts of slow-mo stuff, has 3G-SDI and built-in neutral density filters, but I’ll leave Sony to sort out the specs with you. For now I have two questions: 1) will the 4K firmware upgrade cost extra? I gave Sony a call to see. It turns out the rep had heard of the FS700 only seconds before I called, so didn’t have any details as of yet. Based on Sony’s history the rep said the decision to charge for an upgrade “could go either way.” 2) how good is the recorded picture? The NEX-FS700 will be available in June, with 4K output via a firmware upgrade (date as of yet unknown). Is this the future? Thoughts? Zoom

Sony NEX-FS700: 1080p today 4K tomorrow


Sony has dropped the NEX-FS700, a follow-up to their well-priced camcorder, the FS100. The FS700 will be the first 4K capable interchange lens camera for less than a reported $9000 (early price predictions point at a $8700 USD price tag). That’s an incredible price for early adopters of 4K capture technology.


Sony is smart to get into the 4K market early and to be honest, they need a win to get back on top after losing some of their television market reach to competitors like Samsung and camcorder sales to kids who think a camcorder is a Canon DSLR.


What does Sony lose by offering a 4K camera before its competitors and at a lower price point than RED? Nothing. In fact, Sony has everything to gain: not only from consumers eager to get their hands on 4K technology–and willing to switch brands to do so–but from consumers of future 4K material. RED and Canon don’t sell TVs after all, but Sony does (and they need to!). Manufacturers like Panasonic are likely in the same boat.


4K televisions will hit stores later this year, which is all well and good but for the lack of 4K content to fill them. As a new iPad owner I can attest, a higher resolution screen is brilliant only so far as the content on it is high resolution enough to match.


The 4K content gap is something Sony is likely looking to fill, not only with the FS700,  but with reports Sony 4K enhanced Blu-ray players and 4K Blu-ray discs are also en route to consumers. I got to say, I’m excited about the 4K prospect, even if it was just yesterday (literally) that I was editing a standard definition video project for a client (crazy, I know).


Like the FS100, the FS700 would be a perfect upgrade for DSLR shooters, as it proves to solve issues apparent with DSLR video capture. The announcement also makes it a good time to pick up a FS100; one of the shops in Canada is selling the FS100 with a $900 savings.


In addition to 4K via external output, the FS700 will be capable of all sorts of slow-mo stuff, has 3G-SDI and built-in neutral density filters, but I’ll leave Sony to sort out the specs with you.


For now I have two questions: 1) will the 4K firmware upgrade cost extra? I gave Sony a call to see. It turns out the rep had heard of the FS700 only seconds before I called, so didn’t have any details as of yet. Based on Sony’s history the rep said the decision to charge for an upgrade “could go either way.” 2) how good is the recorded picture?


The NEX-FS700 will be available in June, with 4K output via a firmware upgrade (date as of yet unknown).


Is this the future? Thoughts?


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Vid Post 1NOTES

Nikon D4, D800 and D800E Video Features
A Conversation with Nikon Canada


I am not a first impressions kind of girl. I like to try the tech before making decisions, but when you haven’t tried the gear yet, you’ve got to suss out the answers first. I recently had a chance to talk with Nikon Canada about the 3 full frame DSLR cameras they’re unleashing. I could use a full frame camera right about now, so let’s just say–I’m interested. A few of the answers from the Nikon rep I find very interesting. What do you think about these (3) cameras?



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Vid Post 7NOTES


NIKON D800: I AM CINEMA


The Nikon D800 has dropped and I have all the lovely video shooting specs lined up for all you DSLR video shooters looking for a mighty meaty DSLR. This camera is different in many ways to its big brother, the D4, so I will be pointing out some of the key differences as well. Both cameras provide uncompressed 1080p video out via HDMI, which is a huge plus for DSLR video shooters looking to output their video signal to an external video recorder. At about half the price of the D4, the D800 has a lot to offer in a full-frame camera.


Nikon D800/800E Video Specs


Niko D800E: has an optical filter and does not include a low-pass filter, so you get a sharper image without the anti-moire filter. The D800’s optical low-pass filter reduces false colour and moire in video, so it’s a better option for video shooters.

  • 36.3 million megapixels
  • CMOS FX Format Sensor
  • 1080p 24/25/30fps
  • 720p 24/25/30/60fps
  • HDMI uncompressed out (clean feed). 1080p @ 8bit 4.2.2
  • Output to an external monitor or EVF while the back LCD stays on
  • Nikon says it has incredible dynamic range and colour
  • ISO: 100-6400 expandable to ISO 50-25600 equivalent
  • 3.2” LCD screen
  • 2 card slots: SD and CF
  • Two modes: FX and DX crop mode (1.5)
  • B frame data compression in H.264/MPEG-4 AVC format
  • EXPEED 3 reduces rolling shutter
  • Auto flicker reduction: reduce flicker effects during live view and video recording under fluorescent or mercury lamps
  • 20 minutes at highest quality, per video clip
    29 minutes 59 seconds at normal quality
  • Headphone jack (30 levels of adjustment)
  • Stereo microphone input (20 adjustment)
  • Super Speed USB 3.0
  • Time-lapse photography files can be saved as a movie file when completed

Also check out Nikon’s overview of the differences between the D800/D800E (near the bottom of this page): D800 and D800E Which Camera is right for you?


D800/D4 Comparisons for Video:

  • Megapixels: D4: 16.2 MP vs D800: 36.3 MP = more megapixels, better or worse for video? Side by side camera tests should settle the question.
  • ISO: D4: 100-12800 (Extended Mode: 50-204800) = higher ISO range
    (less noise in low light?) vs D800: 100 to 6400 (expanded up to 25,600)
  • Crop Modes: D4: 3 (FX, 1.5x DX and 2.7x) vs D800: 2 (FX and DX 1.5x) = D4 provides more options. All crop modes provide full 1080p.
  • Card slots: D4: SD and QXD (faster transfer rate) vs D800: SD and CF
  • Uncompressed Video Out: D4 and D800 both offer uncompressed video out
  • Ethernet: D4: has ethernet vs D800: doesn’t
  • Remote controlled: D4 can be controlled remotely from an iPad or iPhone with an additional controller (WT-5)
  • Live Frame Grab: D4 allows you to take photos (@ 1920x1080) while recording video
  • Continuous fps (photos): D4: 10fps vs D800: 4 frames per second
  • Price: D4: $5995.95 USD vs D800: $2995.95 USD

For complete D4 video specs, check out my post on the Nikon D4.


This post will be updated as more information comes in from Nikon. I will be testing this camera as soon as I get my hands on one. Is this the camera for you? Feel free to leave your comments below.


Available NOW for pre-order at B&H Photo.
Nikon D800E & Nikon D800 (with optical low-pass filter). If you want one, pre-order one before the initial shipment is gone. The Nikon D4 moved quickly.



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Vid Post 3NOTES


Pentax K-01: The Most Kick-ass Video Camera Pentax has Made?


Pentax K-01 is available for pre-order at B&H Photo.


K-01 Video Specs

  • 16.28 MP APS-C (23.7 x 15.7mm) sensor (brand new, not the K5 sensor)
  • Full 1080p HD video (1920x1080 pixels) @ 24/25/30fps
  • 720p HD video (1280x720) @ 60/50/30/25/24
  • Built for K-mount lenses
  • Sensor shake image stabilization
  • H.264 recording format. AAC audio
  • ISO: 100-12800
  • 3” 921k screen **NO EVF** (Use Zacuto’s?)
  • HDMI type C output: “simultaneously output both Full HD movie clips and stereo sound” (via Pentax Canada)
  • Live View Display:Grid (4x4, Golden Ratio, Scale),
    Bright/Dark Indication and Histogram
  • Contrast-detection autofocus system, with 81 selectable focus points
  • “Shutter speed and aperture exposure control, video autofocus control”
    (via Pentax USA)
  • Dedicated video shooting button
  • Mic port
  • Hotshoe
  • $749 USD. Available for pre order at B&H Photo.


I’ve been a fan of Pentax cameras since I first saw snapshots from a 1970s Asahi Pentax. The images were sharp, really sharp and I realized soon-on that Pentax makes really nice glass. Fast-forward a number of years and I find myself buying not one, but two digital Pentax bodies for two specific reasons:


1) Pentax digital cameras incorporate shake reduction technology, meaning you don’t need to buy a lens with shake reduction built in––a huge plus since the lack of shake reduction means lenses are cheaper and your images have less motion blur.


2) Pentax DSLR cameras accept lenses from their full line of lenses, dating back decades. The only other manufacturer who can compete is Nikon, but Nikon doesn’t incorporate built-in image stabilization into their cameras.


What’s been holding Pentax back for DSLR video shooters is the ability for the cameras to fully embrace all the video shooting capabilities of a Canon or Nikon.


Today, Pentax has taken a massive leap forward with the K-01. What’s unique about this camera? It’s the 1st mirrorless camera on the market by any manufacture to accept DSLR size lens **WITHOUT AN ADAPTER**. The K-01 is a small camera, with a DSLR sized (16MP APS-C) sensor that utilizes the full line of Pentax’s K mount lenses (KAF3, KAF2, KAF, and KA, plus 35mm screwmount, 645/67 med format lenses useable with an adapter).


You could think of it as a hybrid DSLR. The fact it takes the full K-mount means the K-01 is a chunky little beast. Its aluminum body and rubber grip have early reviewers saying it’s like a tank in the hands (that’s a good thing in my books).


It looks almost as big as the Pentax K5 (minus the hand grip) but Pentax states the K-01 is 30% smaller. Keep in mind, the K5 is an extremely small DSLR, so the main thing is it’s thicker than other mirrorless cameras currently on the market.


The Pentax K-01 may be a great option for people wanting the true features of a DSLR in a smaller camera body, especially for anyone who already owns Pentax lenses. I will refrain from a full verdict until I get my hands on one, but I think there’s a lot of potential in this little beast (and good things to come from Pentax).



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Photo Post 1NOTES
Manage Client Expectations: Storyboard Pre-production is a crucial stage in any successful video project, skip it and you’ll likely kick yourself later. Thorough planning not only makes the production and post-production process easier, it allows you to discuss and get feedback on the final product, before the cameras roll. Storyboards as a Pre-production Tool If there is a missing link between meeting client expectations and delivering a matching final product, it’s likely visual. A great script isn’t enough to define project direction–some videos aren’t even scripted–but even an unscripted piece can inspire a few storyboard slides that can be shown to clients for sign-off. Although solid communication and pre-production planning is important, some people are just not great at visualizing how what you are discussing with them, is going to end up becoming a video. There are so many variables in video production, taking the guesswork out of the final product and meeting client expectation is key. A storyboard is my tool of choice for providing visual clarity. Having one at the ready ensures I’m more likely to deliver the end product my producer or client was expecting to receive. Knowing the visual part of the storytelling process has been blessed by the project’s producers prevents me from worrying I’ll have to cut scenes and ultimately ruining the flow of the story, when it’s time to edit. Storyboarding Basics As much as I can, I take my camera out with me and scout the setting prior to storyboarding or filming begins. The photos I take help me decide on framing, lighting and camera placement before shooting day. They also help solidify what I will be designing in my storyboard. A basic storyboard shows the framing of a shot, the content of the scene in relation to the camera and any movement that’s important to communicate. A badly developed storyboard is a slew of images that have no relation to one another and provide no direction for the director to know what to shoot for adequate coverage. A good storyboard neatly lays out all the shots, including cut-aways, so all transitional shots are accounted for.   If you’re going to storyboard, make sure you’re visualizing exactly what you need to shoot for proper coverage of the scene in post. Do you have to be a fantastic artist to create storyboards? No. I use stick people for the most part. Do you need expensive programs to storyboard? No. Many people still storyboard by hand. I use a Moleskine storyboard book then scan the shots into my computer, crop them and lay them into a sequence using the free Celtx script writing software. You can also create storyboards using most graphics programs (including Photoshop), or use Celtx’s storyboard tool.  Storyboards as a Production and Post-production Tool In my world, pre-production is everything to enjoying the production and post process. Storyboards drive the shot list and enable me to stay on-track throughout the shoot. Moreover, having a well-developed storyboard and shot list means when the cameras roll I can focus on what’s most important: getting the shot and making sure the talent’s performance is spot on.  Do I stick to every shot I map out in the pre-production process? No. As depicted in the image pictured above, if I decide on set I don’t want to pan across a building but rather tilt the camera down the edge of the building (because it makes for more interesting framing), I still have room to shoot creatively and get the shot I want to take in the moment. The important part is that the storyboard reminded me I needed an establishing shot of the building in the first place, not how to shoot the scene. Do I edit exactly what my storyboard shows? No. As someone who likes to shoot for the edit, having a well-developed storyboard assures I have all the shots for a complete story covered, even if I want to change the sequence or timing of the scenes in post. Just because I draw the sequence, doesn’t mean I have to edit to it, what fun would that be? All it means is that I know I will mostly likely have the coverage needed to tell the story I’m trying to tell when it’s time to put the footage together. I hope this article gets you thinking about how you might use storyboards to help you through the video production process. If you use storyboards, I’d love to hear what you think. Feel free to leave comments below. Zoom


Manage Client Expectations: Storyboard


Pre-production is a crucial stage in any successful video project, skip it and you’ll likely kick yourself later. Thorough planning not only makes the production and post-production process easier, it allows you to discuss and get feedback on the final product, before the cameras roll.


Storyboards as a Pre-production Tool


If there is a missing link between meeting client expectations and delivering a matching final product, it’s likely visual. A great script isn’t enough to define project direction–some videos aren’t even scripted–but even an unscripted piece can inspire a few storyboard slides that can be shown to clients for sign-off.


Although solid communication and pre-production planning is important, some people are just not great at visualizing how what you are discussing with them, is going to end up becoming a video.


There are so many variables in video production, taking the guesswork out of the final product and meeting client expectation is key. A storyboard is my tool of choice for providing visual clarity. Having one at the ready ensures I’m more likely to deliver the end product my producer or client was expecting to receive.


Knowing the visual part of the storytelling process has been blessed by the project’s producers prevents me from worrying I’ll have to cut scenes and ultimately ruining the flow of the story, when it’s time to edit.


Storyboarding Basics


As much as I can, I take my camera out with me and scout the setting prior to storyboarding or filming begins. The photos I take help me decide on framing, lighting and camera placement before shooting day. They also help solidify what I will be designing in my storyboard.


A basic storyboard shows the framing of a shot, the content of the scene in relation to the camera and any movement that’s important to communicate. A badly developed storyboard is a slew of images that have no relation to one another and provide no direction for the director to know what to shoot for adequate coverage. A good storyboard neatly lays out all the shots, including cut-aways, so all transitional shots are accounted for.  


If you’re going to storyboard, make sure you’re visualizing exactly what you need to shoot for proper coverage of the scene in post. Do you have to be a fantastic artist to create storyboards? No. I use stick people for the most part.


Do you need expensive programs to storyboard? No. Many people still storyboard by hand. I use a Moleskine storyboard book then scan the shots into my computer, crop them and lay them into a sequence using the free Celtx script writing software. You can also create storyboards using most graphics programs (including Photoshop), or use Celtx’s storyboard tool. 


Storyboards as a Production and Post-production Tool


In my world, pre-production is everything to enjoying the production and post process. Storyboards drive the shot list and enable me to stay on-track throughout the shoot. Moreover, having a well-developed storyboard and shot list means when the cameras roll I can focus on what’s most important: getting the shot and making sure the talent’s performance is spot on. 


Do I stick to every shot I map out in the pre-production process? No. As depicted in the image pictured above, if I decide on set I don’t want to pan across a building but rather tilt the camera down the edge of the building (because it makes for more interesting framing), I still have room to shoot creatively and get the shot I want to take in the moment. The important part is that the storyboard reminded me I needed an establishing shot of the building in the first place, not how to shoot the scene.


Do I edit exactly what my storyboard shows? No. As someone who likes to shoot for the edit, having a well-developed storyboard assures I have all the shots for a complete story covered, even if I want to change the sequence or timing of the scenes in post. Just because I draw the sequence, doesn’t mean I have to edit to it, what fun would that be? All it means is that I know I will mostly likely have the coverage needed to tell the story I’m trying to tell when it’s time to put the footage together.


I hope this article gets you thinking about how you might use storyboards to help you through the video production process. If you use storyboards, I’d love to hear what you think. Feel free to leave comments below.


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Vid Post 8NOTES

An electronic viewfinder is a crucial piece of kit–especially if your camera doesn’t have one built-in–as it provides professional features making it easier to focus, judge exposure and frame your shot.


In the third and final episode of a Zacuto EVF vs SmallHD DP4 EVF comparison series, we look at some of the intricacies of these units as well as what sets them apart. I’d love to hear about your own experiences using an EVF.



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Vid Post 8NOTES

Video Colour Correction in Adobe Lightroom 4 Beta


Julieanne Kost walks us through the video capabilities of the latest release


I’ve been a Lightroom user since its first beta, and there have been many times in the years since when I thought: I wish I could use Lightroom to colour correct my video footage. Well, it turns out the crew at Adobe Labs was thinking the same thing because they’ve introduced the ability to view, add metadata, do simple edits and even colour correct video footage in Lightroom 4 beta.


Yes, you can do all these things already in other video editing programs, but the point here is that you can log all your clips, do colour correction and output them: QUICKLY, all while doing the same with your photos.


Now you can sort through your photos and scrub through you video clips all in the same software. Lightroom 4 allows you to set simple in and out points for your clips, colour correct or grade an entire batch of shots using the same settings (by editing a single video frame), and output your clips for editing in another program or email your footage directly from within Lightroom.


I’ve always been a BIG fan of Adobe Lightroom because it’s intuitive, powerful and dead simple compared to Photoshop–which is still one of the main tools I use. Now that Lightroom handles video, it really matches the workflow of a DSLR shooter who shoots both video and photos. This is just the beginning but I think we can all imagine where things are headed.


Get it, try it for FREE and tell me what you think:
http://labs.adobe.com/technologies/lightroom4/



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Photo Post 68NOTES
Nikon D4 Announcement Nikon has just announced the D4, their top of the line replacement camera for the D3S. Yes, this is a photography camera, I know! There are plenty people covering the photo capabilities, I want to go over the video specs since this is BIG news for video shooters. A quote from Nikon’s site regarding the video image: “Thanks to Nikon’s latest image-processing algorithms, the D4’s video ensures a smooth look with fewer “jaggies” and less moiré while maintaining sharp edges, even in dark conditions, by using noise-reduction technology designed specifically for video.” Here are the biggies that set this camera apart from any other Nikon or DSLR on the market as far as video capabilities go. Will I be trying this camera as soon as I can get my hands on one? YES! D4 Video Specs 16.2 effective megapixels 36.0 x 23.9 mm CMOS full-frame sensor ISO 100 to 12 800 or ISO 200 to Hi 4 8 bit 4:2:2 UNCOMPRESSED full 1080p @ 24 or 30fps (confirmed by Nikon Canada) resolution output via HDMI. The recording time is said to only be restricted by the size of your external hard drive Clean HDMI signal out 1,920 x 1,080; 30p (progressive), 25p, 24p 1,920 x 1,080 crop; 30p, 25p, 24p (2.7x crop of the picture angle) 1,280 x 720; 60p, 50p, 30p, 25p H.264/MPEG-4 Advanced Video Coding 29 minutes 59 seconds max video recording per clip (compressed in camera) B-Frame data compression method means less rolling shutter “View simultaneous Live View output on external monitors and record uncompressed video via HDMI terminal.” (Nikon.ca) –Fantastic! 2 Live View shooting modes: one for photography, one for movies. “Exposure, white balance, monitor hue, histogram, focus mode, AF area mode and focusing accuracy are easily confirmed.” (Nikon.ca) “A time-lapse photography feature, with which the camera automatically takes photos at selected intervals to record a time-lapse movie, which can be played back at 24–36,000x normal playback speed” (Nikon.com) 2MP stills simultaneously while filming Stereo mini-pin jack in (for a stereo mic) Stereo mini-pin jack out (for headphones: a first on a DSLR) 20 steps of audio level control to fine tune the audio being recorded 30 steps of audio level control for fine tuning the audio monitoring levels Full manual video control (aperture, ISO, shutter speed) 3.2” LCD with iluminated back control buttons Control shooting capabilities via ethernet or wireless devices: “use the web browser on your iPhone® and/or iPad®** to operate camera controls or begin Live View shooting, including starting and stopping HD video and more.” (Nikon.ca) Dual card slot: CF card and XQD memory cards Shipping February 16 2012 for $5999.95 USD or $6,299.95 CDN (new 85mm f/1.8 lens, shipping at same time for $499.95 USD). Available for pre order at B&H Photo NY. Nikon states that once the D4 ships, quantity will be limited for the first bit, so order early if you want this beast! Link to the official Nikon D4 Brochure: http://imaging.nikon.com/lineup/dslr/d4/pdf/d4_12p.pdf Official Site: http://imaging.nikon.com/lineup/dslr/d4/index.htm NEW AF-S NIKKOR 85mm f/1.8G: http://www.nikon.com/news/2012/0106_af-s_nikkor_85mm_f18g_01.htm Zoom

Nikon D4 Announcement


Nikon has just announced the D4, their top of the line replacement camera for the D3S. Yes, this is a photography camera, I know! There are plenty people covering the photo capabilities, I want to go over the video specs since this is BIG news for video shooters.


A quote from Nikon’s site regarding the video image: “Thanks to Nikon’s latest image-processing algorithms, the D4’s video ensures a smooth look with fewer “jaggies” and less moiré while maintaining sharp edges, even in dark conditions, by using noise-reduction technology designed specifically for video.”


Here are the biggies that set this camera apart from any other Nikon or DSLR on the market as far as video capabilities go. Will I be trying this camera as soon as I can get my hands on one? YES!


D4 Video Specs

  • 16.2 effective megapixels 36.0 x 23.9 mm CMOS full-frame sensor
  • ISO 100 to 12 800 or ISO 200 to Hi 4
  • 8 bit 4:2:2 UNCOMPRESSED full 1080p @ 24 or 30fps (confirmed by Nikon Canada) resolution output via HDMI. The recording time is said to only be restricted by the size of your external hard drive
  • Clean HDMI signal out
  • 1,920 x 1,080; 30p (progressive), 25p, 24p
  • 1,920 x 1,080 crop; 30p, 25p, 24p (2.7x crop of the picture angle)
  • 1,280 x 720; 60p, 50p, 30p, 25p
  • H.264/MPEG-4 Advanced Video Coding
  • 29 minutes 59 seconds max video recording per clip (compressed in camera)
  • B-Frame data compression method means less rolling shutter
  • “View simultaneous Live View output on external monitors and record uncompressed video via HDMI terminal.” (Nikon.ca) –Fantastic!
  • 2 Live View shooting modes: one for photography, one for movies. “Exposure, white balance, monitor hue, histogram, focus mode, AF area mode and focusing accuracy are easily confirmed.” (Nikon.ca)
  • “A time-lapse photography feature, with which the camera automatically takes photos at selected intervals to record a time-lapse movie, which can be played back at 24–36,000x normal playback speed” (Nikon.com)
  • 2MP stills simultaneously while filming
  • Stereo mini-pin jack in (for a stereo mic)
  • Stereo mini-pin jack out (for headphones: a first on a DSLR)
  • 20 steps of audio level control to fine tune the audio being recorded
  • 30 steps of audio level control for fine tuning the audio monitoring levels
  • Full manual video control (aperture, ISO, shutter speed)
  • 3.2” LCD with iluminated back control buttons
  • Control shooting capabilities via ethernet or wireless devices:
    “use the web browser on your iPhone® and/or iPad®** to operate camera controls or begin Live View shooting, including starting and stopping HD video and more.” (Nikon.ca)
  • Dual card slot: CF card and XQD memory cards
  • Shipping February 16 2012 for $5999.95 USD or $6,299.95 CDN (new 85mm f/1.8 lens, shipping at same time for $499.95 USD).

Available for pre order at B&H Photo NY. Nikon states that once the D4 ships, quantity will be limited for the first bit, so order early if you want this beast!


    Link to the official Nikon D4 Brochure:

    http://imaging.nikon.com/lineup/dslr/d4/pdf/d4_12p.pdf


    Official Site:

    http://imaging.nikon.com/lineup/dslr/d4/index.htm


    NEW AF-S NIKKOR 85mm f/1.8G:

    http://www.nikon.com/news/2012/0106_af-s_nikkor_85mm_f18g_01.htm


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    Photo Post 3NOTES
    Musings on Sony Vegas Pro 11 2011 has been an interesting year for editors as Final Cut Pro received an iMovie-style facelift, Adobe Premiere picked up steam with a 1/2 price offer for people switching from Final Cut. Avid threw its hat in the ring with a software overhaul and a more ‘affordable’ price tag for Media Composer 6, and to little fanfare, Sony released an update to its own editing suite with Sony Vegas Pro 11. I really wanted to write something about Sony Vegas Pro because I don’t hear a lot about it, yet I think it’s both feature rich and easy to use. Vegas immediately appeals to the broadcast community, event videographers, audio focused editors–since enhanced audio editing tools are built right into the software–and of course people who own Sony camera gear. The main thing holding Sony back I think is that the software is built for a PC and unfortunately its latest release is buggy. Vegas Pro features 2k, 4k and 3D editing, offers broad format support for XDCAM, NXCAM, AVCHD, and RED without transcoding (yes support for RED ONE and EPIC, just pull the files onto the time line and edit), as well as multicamera editing from up to 32 video sources, 5.1 surround sound editing, closed-captioning and offers 64-bit software capabilities. Cool features that stick out for me are one-click Blu-ray authoring right from the editing time line, the wicked white balance tool, the ability to read layered Photoshop files and in version 11, RAW camera files. The Vegas Pro suite includes a super intuitive Blu-ray and DVD authoring tool called DVD Architect which makes using Adobe Encore in comparison feel like you’re writing the Sunday edition of the New York Times crossword puzzle. Part of the ability for Sony to offer all these features and keep up with technology changes is due to their rapid software releases. I find myself upgrading on an annual basis and it doesn’t cost much (less than $200). The software itself is only $600. Sony Vegas Pro 11 - New Features Vegas Pro 11 adds to this long list of features with new GPU-acceleration that works with both AMD and NVIDIA graphics card. I ran a render test to see the difference and I can tell you that the same clip rendered in Sony Vegas Pro 10, rendered in 1/2 the time in Sony Vegas Pro 11: now that’s impressive! The image stabilizer tool (similar to the After Effects Warp Stabilizer tool) has been significantly improved in version 11 and new 3D titling capabilities are also pretty cool. Sony Vegas Pro 11 - Major Complaints The recent release of Sony Vegas Pro 11 has not arrived without issues. To be honest, Vegas has always been a bit unreliable as far as bugs go. Having your software crash in the middle of editing (for no apparent reason) is never fun. Sony has already released a firmware upgrade to address some of the bugs, but the issues I’ve had have yet to be addressed. This has caused me to ask for a refund, which I received from Sony without any acknowledgment from them as to the outstanding issues. One of the bugs is the inability to render .mp4 video files from the time line without being presented with an error. Since .mp4 files are what I use most for web video content, not having the ability to render them is a huge FAIL. I also realized that Sony corrupts audio files that are played back from a 3TB hard drive. Since I recently upgraded my external hard drive to a 3TB USB 3.0 drive, the inability to properly play audio files from it is maddening. The bug problems and consequent fixes added in the latest firmware release aren’t just a Sony phenomenon. More and more I’m finding manufactures releasing products that are in the beta stages of development. The recent issues I’ve had with Sony Vegas Pro 11 have been off-putting to say the least and their inability to acknowledge the problems hasn’t helped (bad customer service goes a long way, if you know what I mean). I now find myself looking back to Adobe and forward to Avid to fill the void, which is honestly too bad because otherwise, Sony Vegas Pro is a great piece of software. Zoom


    Musings on Sony Vegas Pro 11


    2011 has been an interesting year for editors as Final Cut Pro received an iMovie-style facelift, Adobe Premiere picked up steam with a 1/2 price offer for people switching from Final Cut. Avid threw its hat in the ring with a software overhaul and a more ‘affordable’ price tag for Media Composer 6, and to little fanfare, Sony released an update to its own editing suite with Sony Vegas Pro 11.


    I really wanted to write something about Sony Vegas Pro because I don’t hear a lot about it, yet I think it’s both feature rich and easy to use. Vegas immediately appeals to the broadcast community, event videographers, audio focused editors–since enhanced audio editing tools are built right into the software–and of course people who own Sony camera gear. The main thing holding Sony back I think is that the software is built for a PC and unfortunately its latest release is buggy.


    Vegas Pro features 2k, 4k and 3D editing, offers broad format support for XDCAM, NXCAM, AVCHD, and RED without transcoding (yes support for RED ONE and EPIC, just pull the files onto the time line and edit), as well as multicamera editing from up to 32 video sources, 5.1 surround sound editing, closed-captioning and offers 64-bit software capabilities.


    Cool features that stick out for me are one-click Blu-ray authoring right from the editing time line, the wicked white balance tool, the ability to read layered Photoshop files and in version 11, RAW camera files. The Vegas Pro suite includes a super intuitive Blu-ray and DVD authoring tool called DVD Architect which makes using Adobe Encore in comparison feel like you’re writing the Sunday edition of the New York Times crossword puzzle.


    Part of the ability for Sony to offer all these features and keep up with technology changes is due to their rapid software releases. I find myself upgrading on an annual basis and it doesn’t cost much (less than $200). The software itself is only $600.


    Sony Vegas Pro 11 - New Features


    Vegas Pro 11 adds to this long list of features with new GPU-acceleration that works with both AMD and NVIDIA graphics card. I ran a render test to see the difference and I can tell you that the same clip rendered in Sony Vegas Pro 10, rendered in 1/2 the time in Sony Vegas Pro 11: now that’s impressive! The image stabilizer tool (similar to the After Effects Warp Stabilizer tool) has been significantly improved in version 11 and new 3D titling capabilities are also pretty cool.


    Sony Vegas Pro 11 - Major Complaints


    The recent release of Sony Vegas Pro 11 has not arrived without issues. To be honest, Vegas has always been a bit unreliable as far as bugs go. Having your software crash in the middle of editing (for no apparent reason) is never fun. Sony has already released a firmware upgrade to address some of the bugs, but the issues I’ve had have yet to be addressed. This has caused me to ask for a refund, which I received from Sony without any acknowledgment from them as to the outstanding issues.


    One of the bugs is the inability to render .mp4 video files from the time line without being presented with an error. Since .mp4 files are what I use most for web video content, not having the ability to render them is a huge FAIL. I also realized that Sony corrupts audio files that are played back from a 3TB hard drive. Since I recently upgraded my external hard drive to a 3TB USB 3.0 drive, the inability to properly play audio files from it is maddening.


    The bug problems and consequent fixes added in the latest firmware release aren’t just a Sony phenomenon. More and more I’m finding manufactures releasing products that are in the beta stages of development. The recent issues I’ve had with Sony Vegas Pro 11 have been off-putting to say the least and their inability to acknowledge the problems hasn’t helped (bad customer service goes a long way, if you know what I mean). I now find myself looking back to Adobe and forward to Avid to fill the void, which is honestly too bad because otherwise, Sony Vegas Pro is a great piece of software.


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    Photo Post 6NOTES
    The Quest for the Perfect Editing Suite: A Look Back When I was first starting out, everyone told me if I wanted to make a feature length film one day, I’d have to learn to cut on Avid. Why did that say this? Before Final Cut Pro and Adobe Premiere Pro hit the scene, Avid was–and in some realms, still is–the benchmark for non-linear editing. It was the mainstay for production companies, particularly in broadcasting and film studios, and it was what the kids in Canadian films schools in the 1990s learned on. But I never did learn Avid (nor have I released any feature films to date), but I did learn to edit. What I realized soon on was that it was less important to learn a specific editing software suite and more important to learn how to edit. Learning the core principles of editing and being able to jump between editing suites has kept me continuing to do what I love. The first video I shot and edited was in 1993. We kicked it old school back then–shooting on the modern video format–and editing on a tape to tape editing station. That’s right, the edits I made were linear (including the titling and credits), so if I wanted to change the sequence after the fact, I had to rewind the tape and do it all over again. When I set my hands on a non-linear editing station it was a Mac, with the first version of Final Cut Pro installed. Man did that version suck! Non-linear editing brought lots of added features but the manual for the software was like 400 pages long (not kidding) and it took forever to view my edits, because I had to wait while the computer prerendered each transition. Everything was clunky and complicated with Final Cut Pro, but I stuck with it because Avid was out of my league, aka: I wasn’t rich. Final Cut Pro was the [sort of] answer wannabe filmmakers were looking for, and Apple delivered for many releases thereafter. I was hungry to put what I knew into practice and make a buck doing it, so I started shooting and cutting videos for small businesses, corporations and government institutions–in the hopes of generating cash to fund my own creative projects. This led me to switching to PCs because my clients were using PCs, and with the PC came the editing suite–the choice: Premiere Pro or Sony Vegas Pro. I used both (and have since), but in my heart and mind Sony won hands-down. It was and still is the most intuitive, feature rich and painless editing suite I’ve used. You may find yourself learning a piece of software either because your colleagues brand it the “it” thing, or the company you are cutting for prefers it. Some of you may even choose your software based on the price tag or computer you use. What I can say from experience is that it’s been crucial for me to be able to adapt to whatever tools are put in front of me. I can say without a doubt, I’ve gotten further in my career and in my own business by keeping an open mind, than I would have, had I stuck to one camera or one software solution. Think about it. As for learning Avid? I plan to do that next. Ya never know when I’ll need it. Zoom


    The Quest for the Perfect Editing Suite: A Look Back


    When I was first starting out, everyone told me if I wanted to make a feature length film one day, I’d have to learn to cut on Avid. Why did that say this? Before Final Cut Pro and Adobe Premiere Pro hit the scene, Avid was–and in some realms, still is–the benchmark for non-linear editing. It was the mainstay for production companies, particularly in broadcasting and film studios, and it was what the kids in Canadian films schools in the 1990s learned on. But I never did learn Avid (nor have I released any feature films to date), but I did learn to edit.


    What I realized soon on was that it was less important to learn a specific editing software suite and more important to learn how to edit. Learning the core principles of editing and being able to jump between editing suites has kept me continuing to do what I love.


    The first video I shot and edited was in 1993. We kicked it old school back then–shooting on the modern video format–and editing on a tape to tape editing station. That’s right, the edits I made were linear (including the titling and credits), so if I wanted to change the sequence after the fact, I had to rewind the tape and do it all over again.


    When I set my hands on a non-linear editing station it was a Mac, with the first version of Final Cut Pro installed. Man did that version suck! Non-linear editing brought lots of added features but the manual for the software was like 400 pages long (not kidding) and it took forever to view my edits, because I had to wait while the computer prerendered each transition.


    Everything was clunky and complicated with Final Cut Pro, but I stuck with it because Avid was out of my league, aka: I wasn’t rich. Final Cut Pro was the [sort of] answer wannabe filmmakers were looking for, and Apple delivered for many releases thereafter.


    I was hungry to put what I knew into practice and make a buck doing it, so I started shooting and cutting videos for small businesses, corporations and government institutions–in the hopes of generating cash to fund my own creative projects. This led me to switching to PCs because my clients were using PCs, and with the PC came the editing suite–the choice: Premiere Pro or Sony Vegas Pro. I used both (and have since), but in my heart and mind Sony won hands-down. It was and still is the most intuitive, feature rich and painless editing suite I’ve used.


    You may find yourself learning a piece of software either because your colleagues brand it the “it” thing, or the company you are cutting for prefers it. Some of you may even choose your software based on the price tag or computer you use. What I can say from experience is that it’s been crucial for me to be able to adapt to whatever tools are put in front of me. I can say without a doubt, I’ve gotten further in my career and in my own business by keeping an open mind, than I would have, had I stuck to one camera or one software solution. Think about it.


    As for learning Avid? I plan to do that next. Ya never know when I’ll need it.


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