Spin-Axis 360 Head™

Total Page：16

File Type：pdf, Size：1020Kb

AATON 35-III AATON XTRprod AATON A-MINIMA MOVIECAM COMPACT COMPACT MOVIECAM SL ARRIFLEX 435ES ARRIFLEX 35BL-4 ARRIFLEX 35- 3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200U PANASONIC VARICAM HD PANASONIC SDX900 PANASONIC HVX200 PANASONIC DVX100 SONY CINE ALTA ANGENIEUX COOKE S4 FUJINON NIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN AXIS 360 MOTOROLA AATON 35-III AATON XTRprod AATON A-MINIMA MOVIECAM COMPACT MOVIECAM SL ARRIFLEX 435ES ARRIFLEX 35BL-4 ARRIFLEX 35-3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200U PANASONIC VARICAM HD PANASONIC SDX900 PANASONIC HVX200 PANASONIC DVX100 SONY CINE ALTA ANGENIEUX COOKE S4 FUJINON NIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN AXIS 360 MOTOROLA AATON 35-III AATON XTRprod AATON A-MINIMA MOVIECAM COMPACT MOVIECAM SL ARRIFLEX 435ES ARRIFLEX 35BL-4 ARRIFLEX 35-3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200U PANASONIC™ VARICAM HD PANASONICSpin-Axis SDX900 PANASONIC 360 HVX200 Head PANASONIC DVX100 SONY CINE ALTA ANGENIEUXFrom Oppenheimer COOKE S4 FUJINON Camera ProductsNIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN prod AXIS 360 MOTOROLA AATONAll new motorized 35-III third-axis AATON head XTR AATON A-MINIMA Extremely robust design MOVIECAM COMPACTCarbon MOVIECAM ﬁber, kevlar and aircraft-gradeSL ARRIFLEX aluminum 435ES ARRIFLEX 35BL- 4 ARRIFLEX 35-3 ARRIFLEXTotal weight2C ARRIFLEX is only 18 pounds 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U JVC HD200UVery quiet PANASONIC operation VARICAM HD PANASONIC SDX900 PANASONIC HVX200Adaptable to PANASONIC most modern cameras DVX100 SONY CINE ALTA ANGENIEUX COOKE S4 FUJINON NIKON ZEISS O’CONNOR RONFORD SACHTLER WEAVER STEADMAN SWISS JIB POWER POD SPIN AXIS 360 prod MOTOROLA AATON 35-IIIph: (206)467-8666 AATON XTRfax: (206)467-9165AATON A-MINIMA MOVIECAM COMPACT MOVIECAM SL ARRIFLEXemail: [email protected] 435ES ARRIFLEX 35BL-4 ARRIFLEX 35- 3 ARRIFLEX 2C ARRIFLEX 416 ARRIFLEX SR3 ARRIFLEX SR-HS JVC HD110U .

Copy Link

Recommended publications

AJ- Variable Frame-Rate HD Camera-Recorder
AJ- Variable Frame-Rate HD Camera-Recorder A variable frame-rate camera for an HD multi-media world. High Definition The HD Story The freedom to realize your vision. new world of creative possibilities is emerging on the multi-media horizon. As technology evolves, Panasonic continues to bridge the gap between the artist and their vision Since the introduction of our DVCPRO family of digital through breathtaking advances in high-definition products, we've placed hundreds of thousands of digital imaging. By empowering storytellers with recorders in the world's news, production and post a dazzling array of production-oriented technology, production communities. Already acknowledged as at significant economies, an exciting one of the most reliable and economical Whether episodic television, independent films, music videos, commercials or new media projects, Panasonic is ushering in a new era of high definition. video systems, DVCPRO HD is now building on this directors and digital artists with exciting new creative history with our HD Cinema cameras and related options. From infusing documentaries with a lush, digital VTRs. cinematic quality to creating stunning new visual effects for music videos, the AJ-HDC27F gives unprecedented Whether episodic television, independent films, music freedom for storytellers to realize their vision. videos, commercials or new media projects, Panasonic is ushering in a new era of high definition, digital Open systems. Open minds. production, finishing and distribution. By bringing An important component of the AJ-HDC27F is its together the worlds of cinematography, digital recording compatibility with other international formats. and computer-augmented post production, Panasonic DVCPRO HD VTRs playback DVCPRO 25/50/50P and has defined itself as the premier name for technology DV recordings, and 1080i and 720p images from that fuels artistic freedom worldwide.
[Show full text]
Varicam Pure Codex One Workflow Codex + Panasonic
VARICAM PURE CODEX ONE WORKFLOW CODEX + PANASONIC The Panasonic VariCam Pure outputs RAW files to HD-SDI LOG HDR MONITOR Codex’s ultra-reliable Capture Drives. CAMERA VIDEO OUT LUT BOX OR And that’s just the gateway to a complete dailies, review DIRECT CAMERA CONTROL and archiving system with Codex’s Production Suite. FILM UNIT BACKBONE AWARE One workflow, no matter which camera you choose, MACBOOK PRO WITH CODEX LIVE you won’t need anything else. OR POMFORT LIVE GRADE CODEX PRODUCTION SUITE Panasonic VariCam Pure Uncompressed 4K RAW Capture CODEX CAPTURE DRIVE > 4K uncompressed RAW at up to 120 fps 2.0 DOCK A camera system designed by Panasonic and Codex to capture the highest quality images with the Panasonic VariCam Pure. 4K RAW at up to 120 fps > Integrated camera package (no cables) CODEX CAPTURE DRIVE 2.0 with a simple workflow via Codex’s Production Suite to deliver ProRes files > Industry Standard workflow support via Codex and all the other deliverables required. Production SuiteTM CODEX TRANSFER DRIVE DOCK “It’s great to see such purposeful product development in the collaboration between Codex and Panasonic. They have teamed up, to not only offer RAW recording for the VariCam 35, but to raise the bar even higher. By tightly integrating this new V-RAW recorder with the VariCam for a smaller lighter, frankly better, system we now can more effectively meet the needs of our clients on high end 4K RAW productions.” CODEX PRODUCTION SUITE Micheal Bravin, SIM Digital With world-class imaging science, high quality image-processing, the flexibility of the Codex File System (CFS) and an “THE CODEX V-RAW intuitive user-interface, Codex Production Suite features sophisticated tools for RECORDING SYSTEM FOR THE colour grading and LUT management, QC, VARICAM 35 WAS THE BEST metadata editing and audio sync so you can create and manage all your SOLUTION” deliverables within one powerful system.
[Show full text]
HDV Workflow
Whitepaper Author: Jon Thorn, Field Systems Engineer—AJA Video Systems, Inc. HDV Workfl ow JVC HDV and Sony HDV Workfl ow Using the AJA KonaLH or KonaLHe with Final Cut Pro 5 Introduction With the introduction of the HDV format, a broader era of HD acquisition has grown from the portable camcorder sized devices that could record compressed HD on inexpensive MiniDV tapes. However, akin to the beginning of the DV era in the late 1990s, this format is still early in its development and deployment. Though support for the format has grown quickly by comparison to its digital forerunner—DV, the format’s very structure has proven to be somewhat problematic in a conventional post-production workfl ow. The Format What makes HDV such an amazing format is that it manages to capture HD images via MPEG2 compression and allow for record- ing the signal to a MiniDV tape (thankfully a tape format already ubiquitous in the marketplace among all major camera manu- facturers and tape stock providers.) This MPEG2 compression is similar to a DVD (although DVD is a program stream vs. HDV’s transport stream and HDV uses a constant bit rate whereas DVDs use variable bit rates). The issue for post production is that the HDV transport stream is based around a long-GOP structure (group of pictures) which produces images based on information over a section of time, via I, P and B frames; Intraframes, predicted frames and bi-direction- al frames. Formats that do not use this scheme treat frames as individual units, as in the progressive formats where a frame truly is a frame, or as interlaced frames where two fi elds create the image.
[Show full text]
Varicam Manual
LT Operating Guide Version 5 * The photograph is an example of a system. W0316HM4037 -YI VQT5M58A-4(E) f SDXC logo is a trademark of SD-3C, LLC. f MMC (Multi Media Card) is a registered trademark of InfineonTechnologies AG. f Microsoft® and Windows® are registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. f Screenshots are used according to Microsoft Corporation guidelines. f Apple, Macintosh, Mac OS, QuickTime, iPad, iPhone, and ProRes are trademarks or registered trademarks of Apple Inc. in the United States and/or other countries. f All other names, company names, product names, etc., contained in this document are trademarks or registered trademarks of their respective owners. f This product is licensed under the AVC Patent Portfolio License. All other acts are not licensed except private use for personal and non-profit purposes such as what are described below. - To record video in compliance with the AVC standard (AVC Video) - To play back AVC Video that was recorded by a consumer engaged in a personal and non-commercial activity - To play back AVC Video that was obtained from a video provider licensed to provide the video Visit the MPEG LA, LLC website (http://www.mpegla.com/) for details. f The Apple ProRes codec module is used under license from Atomos. f Atomos is a trademark or registered trademark of Atomos Global Pty. Ltd. How to read this document r Illustrations f Illustrations may differ from the actual product. r Conventions used in this manual f Words and phrases in [ ] brackets indicate details and content displayed in the viewfinder or control panel.
[Show full text]
See Updates Announced 24 January 2017
Reference No: 6 Date issued: 24th January 2017 Subject: FIRMWARE UPDATES – NOVEMBER 2016 Dear Ladies and Gentlemen, Please be aware of the latest firmware updates available for the following product models – all of which are available on our PASS website, which is available here. FIRMWARE UPDATES PRODUCT FIRMWARE FIRMWARE DETAILS AVAILABILITY WEB UPDATE VERSION LINK PROCEDURE Fixes issue whereby a coloured Version NOW AG-UX90 band may appear for a few LINK LINK 1.04 minutes in low-light conditions AVAILABLE when in 4K mode AG- AG-UX90 & AG-UX180 Handbook NOW N/A LINK N/A UX90/UX180 AVAILABLE Fixes issue whereby a few vertical lines may appear to the left hand side of the screen when ABB is executed whilst in 4K, corrects Version NOW AG-UX180 issue of black level at +7 setting of LINK LINK 1.02 NR control, and fixes issue where AVAILABLE colouring occurs on contours of a high-brightness part when GAMMA mode is set to CINE_LIKE_V or FILM_LIKE_2 Version Fixed SD card issues NOW AJ-PX230 LINK LINK 14.7 AVAILABLE High-speed transmission by Version NOW AJ-PX270 bonding equipment is supported, LINK LINK 35.94 and problems with AJ-WM50 is AVAILABLE now fixed. High-speed transmission by Version NOW AJ-PX5000 bonding equipment is supported, LINK LINK 39.92 and problems with AJ-WM50 is AVAILABLE now fixed. For Varicam LT ONLY: - New low-bitrate codecs – AVC- LongG25 and AVC-LongG50 - MicroP2 card support with MicroP2 adapter For Varicam 35 and Varicam LT: Version 7 Varicam (Varicam -ProRes 2K Support with ProRes FEBRUARY N/A 35/Varicam 35) N/A 4444XQ, ProResLT, ProRes422, 6TH 2017 LT ProRes 4444 12 bit, ProRes 444 Version 5 VFR (Varicam -‘Varicam ROP’ for iOS which LT) allows users to control the camera settings and REC start/stop via the app (note: to complete wirelessly an AJ-WM50 wireless module is needed) Panasonic Marketing Europe GmbH Hagenauer Strasse 43, D-65203 Wiesbaden business.panasonic.eu/broadcast-and-proav You can find more information on our products here, whilst you can also find case studies in action here.
[Show full text]
LUMIX S5 Lens Kit
LUMIX S5 Lens Kit LONG TITLE Panasonic LUMIX S5, 4K Camera, Mirrorless Camera, Full Frame, L-Mount Camera with Flip Screen (3”), LUMIX S 20-60mm F3.5-5.6 Lens, 5-Axis Dual I.S.,4K 60p Video – DC-S5KK (Black) SHORT TITLE Panasonic LUMIX S5, 4K Mirrorless Full-Frame L-Mount Camera, LUMIX S 20-60mm F3.5-5.6 Lens – (DC-S5KK) SUGGESTED “HIDDEN” KEYWORDS Lumix panasonic gh5 gh4 g9 S1r s1h bundle vlogging youtube video recording photography dslr micro four third Interchangeable lens kit autofocus full frame sensor l-mount compact lightweight waterproof travel EXTENDED KEY USP (5) • A LIGHTWEIGHT, POWERFUL HYBRID CAMERA FOR VIBRANT STILL PHOTOGRAPHY AND CINEMATIC VIDEO: Realize your creative vision with a compact hybrid camera that delivers gorgeous, high-sensitivity still photography and extraordinary 4K 60p, 4:2:2 10- bit video recording, offering a FHD 180fps Slow Motion option as well as 4:3 Anamorphic support. The S5 is perfect for use when talking still photos or as a vlog camera. • DETAILED PHOTO AND VIDEO THAT WILL DELIGHT ENTHUSIASTS AND EXPERTS ALIKE: The Lumix S5 makes it easy and accessible to capture content in impressive high resolution. 96MP High Resolution Recording mode delivers with clarity and precision. Dual Native ISO minimizes noise in high sensitivity. V-Log/V-Gamut compatibility offers a 14+ stop dynamic range to capture every detail. • IMPROVED, HIGH-PRECISION AUTOFOCUS AND POWERFUL IMAGE STABILIZATION: Improved autofocus includes detection of the head as well as eyes, face and body, to capture subjects with ease and precision. 5-axis Dual I.S.
[Show full text]
Understanding the Behavior and Capabilities of Panasonic's Cine
Increasing Dynamic Range For Digital Cinematography Michael Bergeron, Panasonic Broadcast January 2004 (August 2004)1 Introduction: Much has been made of achieving a “film look” with digital motion picture camera technologies. While discussion has centered on providing a 24 frame per second progressive image at sufficient resolution, there are other differences between what is thought of as video and what viewers expect from film. Among these differences is the limited dynamic range (contrast ratio or latitude) of most video recording. Eastman Kodak has published experimental results showing high definition video delivering a dynamic highlight range relative to an 18% gray of no more than 3 to 4 stops; compared to the 15.9 stops of some color negative stocks2. Video camera manufacturers have made progress improving this dynamic range, including the introduction of knee and black stretch (black gamma). Panasonic’s cine gamma and other methods have further increased the effective dynamic range of CCD image capture, by changing the entire characteristic response of the CCD imager. Digital image capture finally begins to approach the performance of some film negative stocks, mimicking the desired film like contrast behavior. The effect of applying cine gamma has been illustrated in Panasonic marketing literature by comparing a video frame containing a white-clipped window, to the same shot using cine gamma where details of the scenery can be seen in the highlights of the same bright window. How is this accomplished, and why didn’t anyone do this before? Cine Gamma Note the bridge!的TU 709 Gamma sky 1 This paper was modified in August of 2004.
[Show full text]
Panasonic HPX-2700 P2 Brochure
AJ-HPX3700 AJ-HPX2700Memory Card Camera-Recorder VariCam Creativity and P2 HD Workflow 1 The P2 HD VariCam Series Transforms the Moviemaking Workflow The Panasonic VariCam is well known in the movie industry as a video camera that captures images with an appealing warm, film-like tone and texture. Now the superior image quality and creativity that characterize this ground-breaking camera have been passed on to two advanced new P2 HD camera-recorders. The AJ-HPX3700 outputs RGB 4:4:4 images with full-pixel resolution and P-10Log gamma, and the AJ-HPX2700 features a full-rate (1 to 60 fps) variable frame function. Adding P2's advanced file-based and tapeless recording to VariCam's world-recognized image quality and expressiveness, these powerful new camera-recorders facilitate the workflow while cutting costs. AJ-HPX3700 AJ-HPX2700 High-Quality P2 HD VariCam for Multifunctional P2 HD VariCam with a High-End Production, with RGB 4:4:4 Variable Frame Rate from 1 to 60 fps: Output in Full 1920 x 1080-Pixel Superior Creativity and Outstanding Resolution and P-10Log Gamma Cost-Performance • 2.2-megapixel 2/3" CCD for full 1920 x • Variable frame rate of 1 fps to 60 fps in 1080 HD images. 720p, for creative over-cranked or • Dual-link HD SDI output for camera- under-cranked shooting. through RGB4:4:4/10-bit log gamma • Progressive CCD for multi-format signals. Compatible with uncompressed, recording*1 in 1080/24p, 1080/30p, high-end cinema workflows. 1080/60i, and 720/60p. • Recording formats: AVC-Intra 100/50 • Recording formats: AVC-Intra 100/50 and DVCPRO HD.
[Show full text]
September. 2016 Broadcast and Professional Video Product Lineup
:,7;,4),9 Broadcast and Professional Video Product Lineup VariCam P2 VariCam Camera Recorder .....................03 Memory Card Camera Recorder ..............09 Specifications ...........................................05 Memory Card Recorder ............................11 Optional Accessories ...............................08 Memory Card/Memory Card Drive ........12 Camera Recorder Comparison Table ......13 Feature and Technology ..........................15 Other P2HD Equipment/Software Professional Archive System ..................19 Optional Accessories ...............................20 Partners ....................................................24 Recording Codecs and Proxy Modes ......25 Specifications ...........................................27 =HYP*HT 7 2*HTJVYKLY /+*HTJVYKLY 4K Camcorder LCD Monitor Memory Card Camera Recorder ..............39 LCD Monitor ...............................................53 Specifications ...........................................41 Features and Functions ...........................54 Optional Accessories ...............................48 Dimensions ...............................................59 Supported Video Formats ........................61 Specifications/Optional Accessories .....63 HD Camcorder 3*+4VUP[VY Memory Card Camera Recorder .............49 Optional Accessories ...............................50 Specifications ...........................................51 VariCam Camera Recorder '-2)1% '-2)1% Achieve Vision Cinematic VariCam Look in your hands VariCam 35 VariCam LT 4K Camera
[Show full text]
Análisis Y Recomendaciones Sobre Software Para La Gestión Y Digitalización De Archivos Audiovisuales
UNIVERSIDAD DE GRANADA. FACULTAD DE COMUNICACIÓN Y DOCUMENTACIÓN. MASTER EN INFORMACIÓN Y COMUNICACIÓN CIENTÍFICA. TRABAJO FIN DE MÁSTER ANÁLISIS Y RECOMENDACIONES SOBRE SOFTWARE PARA LA GESTIÓN Y DIGITALIZACIÓN DE ARCHIVOS AUDIOVISUALES. Autor: Jesús Cascón Katchadourian. Director: Antonio Ángel Ruiz Rodríguez. Departamento de Información y Comunicación. Septiembre de 2013. ÍNDICE 1. INTRODUCCIÓN………………………………………………………………………………..3 1.1 PRÓLOGO Y JUSTIFICACIÓN…………………………………………………3 1.2 OBJETIVOS…………………………………………………………………………….5 1.3 METODOLOGÍA………………………………………………………………………6 2. MARCO TEÓRICO……………………………………………………………………………..8 2.1 TERMINOLOGÍA, CONCEPTO, FRONTERAS………………………………..8 2.2 EL CONCEPTO DE IMAGEN EN MOVIMIENTO……………………….11 2.3 SOPORTES, COMPRESIONES, FORMATOS……………………………13 2.3.1 SOPORTES AUDIOVISUALES………………………………………….13 2.3.2 FORMATOS, COMPRESIONES DEL VÍDEO DIGITAL………16 -LA TECNOLOGÍA DIGITAL Y SUS VENTAJAS……………………16 -LA COMPRESIÓN DEL VÍDEO DIGITAL…………………………….17 -FORMATOS DE VÍDEO DIGITAL………………………………….…….21 3. SOFTWARE DE GESTIÓN DE ARCHIVOS AUDIOVISUALES………....29 3.1 TERMINOLOGÍA………………………………………………………………………29 3.2 ¿QUÉ ES UN MAM?.........................................................30 3.3 ¿QUÉ HACE UN MAM?.....................................................31 3.4 ¿QUÉ CARACTERÍSTICAS DEBE POSEER UN MAM?..............32 2 3.5 ¿POR QUÉ UN MAM?.......................................................35 3.6 MÓDULOS DE UN MAM……………………………………………………………40 3.7 LISTA DE CRITERIOS A CUMPLIR POR UN MAM……………………44 3.8 MAM EVALUADOS……………………………………………………………………46
[Show full text]
Varicam HS Brochure
Capture Action The VariCam® HS — Changing the Way Action is Captured The VariCam line of cameras has been used on a wide variety of movies, commercials, and TV programs, and is renowned for its color reproduction, look, and for bringing progressive workflows to the production industry. Now the VariCam HS has arrived. Drawing on the traditions of the original VariCam line, VariCam HS helps its users capture action with its 2/3 3MOS and bayonet lens mount, wide color gamut, continuous 240fps recording. It also revolutionizes workflow with the addition of dual-codec recording, in-camera color grading, and a modular design. The feature-rich VariCam HS is ready to capture all the action of your next project. High-Speed 240 fps Recording, and Revolutionary VariCam Workflows 2/3-type bayonet mount Control panel side: 2/3-type Camera Module and Recording Module Side connector panel of the recorder High-Speed 240 fps Images with VariCam Look Revolutionary Dailies in Camera Multiple Codec, Multiple Outputs • High-sensitivity, low-noise, 2/3-type 2.2-megapixel 3MOS • In-camera color grading • Supports AVC-Intra100, AVC-LongG50, AVC-LongG25 and sensor. Color grading function (CDL) allows on-set color grading Apple ProRes for ubiquitous HD shooting. • High-speed 240 fps recording produces a slow-motion effect. using control panel or 3rd party software. • Records a low-rate AVC-Proxy file. This file contains the Frame rate variable in the range of 1 fps to 240 fps. CDL file is recorded together with clip. same metadata as that of the main data for convenient use in Frame rate can be changed while recording.
[Show full text]
Line-Up Varicam / Cinema Camera
VariCam/Cinema Camera CINEMA CINEMA Uncompressed Achieve Your Vision V-RAW Recording VariCam Pure VariCam 35 4K Camera Recorder 4K Camera Recorder PL Lens super35mm 1MOS Codex Capture Drive Slot x 2 PL Lens super35mm 1MOS ProRes Uncompressed 4K/120p V-RAW Recording with expressP2/P2 card Slot x 2 microP2 card Slot x 2 Compact, Lightweight Package Super 35 mm 4K MOS Sensor with 4K/120 fps • A Package of the VariCam 35 camera module and Compatibility in a 4K Cinema Camera. 1 the Codex’s “V-RAW 2.0” recorder* . • Super 35 mm 4K MOS sensor. • Super 35 mm 4K MOS sensor. – 14+ stops of latitude with “V-Log” gamma. – 14+ stops of latitude with “V-Log” gamma. – Dual Native ISO (ISO800/ISO5000). – Dual Native ISO (ISO800/ISO5000). • Multiple codec recording for 4K/UHD/2K/HD. • Uncompressed 4K/120p V-RAW Recording • 4K/UHD-VFR recording: 1 fps to 120 fps. – The recorder captures uncompressed V-RAW data • AVC-Intra4K recording (4:4:4 12 bit,*3 4:2:2 10 bit). to Codex’s Capture Drive 2.0 at 4K up to 120 fps. • For 2K/HD recording, Apple ProRes*2 is supported – Using Codex’s Production Suite, recorded data in addition to AVC-ULTRA. can be offloaded as a wide range of file formats • AVC-Intra 4K/UHD/2K/HD recording. including V-RAW, ProRes and DNxHR. This ensures • Dual codec recording as main (4K/UHD/2K/HD) and wide-ranging support for existing workflows. sub (2K/HD/Proxy) simultaneously. • High mobility with compact size of 33 mm shorter • In-camera color grading function.
[Show full text]