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Panasonic Releases Varicam 3700 Solid-State P2 HD Cinematography Camcorder

Panasonic announced the immediate availability of the VariCam 3700 (AJ-HPX3700), its premier solid-state P2 HD VariCam camcorder that combines uncompromising cinematic quality, film-style operability and the exceptional reliability of solid-state, file-based recording.

Offering the ultimate in image quality, VariCam 3700 advances the art of high-end cinematography by teaming VariCam’s renowned filmic-look, variable frame rates, and subtle tone control with master-quality, 10-bit 4:2:2 AVC-Intra recording and a host of new functionality.

The VariCam 3700 provides premium-quality performance for narrative feature films, episodic television and commercial production. The 2/3” 2.2 megapixel 3-CCD camera features full native 1920×1080-pixel acquisition and independent-frame recording with 10-bit, 4:2:2 color sub sampling. It records in full-raster 1920×1080 resolution in AVC-intra 100 for the highest quality, in lower-bit-rate AVC-Intra 50 for extended recording and in DVCPRO HD for added flexibility.

The HPX3700 outputs a 4:4:4 RGB dual-link live signal (via HD-SDI) to deliver pristine images for uncompressed workflows and composition of visual effects, while simultaneously recording 4:2:2 HD video in camera. It features a log response for integrating the 4:4:4 footage into a film-style Digital Intermediate workflow, .The camera records progressive and interlace HD formats including native 1080 23.98p/24.00p/25p/29.97p/30.00p, as well as 1080/50i and 1080/59.94i. It is switchable between 59.94-Hz and 50-Hz recording for worldwide use, and also offers 23.98/24psf output via HD-SDI.

The VariCam 3700 inherits the impressive dynamic range, color space and depth of field of the taped-based AJ-HDC27H VariCam. It has excellent sensitivity (F10 at 2,000 lx), 14-bit A/D processing, full 12-axis control of matrix and color correction for precise image matching, as well as a host of unique shutter angle settings and speeds. The P2 HD cinema camera also is equipped with seven selectable gamma modes including SD and HD Video Gamma, and Cine Gamma settings – FilmLike1, FilmLike2, FilmLike3 and FilmRec – that give images the prized VariCam film-like look. The camera also features Chromatic Aberration Correction, which compensates for color deficiencies found in lens to ensure precise color and imagery. For additional image enhancement needs, professionals can utilize the camera’s Dynamic Range Stretch function, a dynamic range expansion tool that simultaneously compresses highlight information and boosts shadow detail in real time, especially helpful when shooting outdoors or in areas where lighting fluctuates.

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Telescopic LLC introduces Techno-Jib 24

Until now, camera jibs could only be built to fixed lengths, which limited their use to certain shots. The new Techno-Jib 24, from Telescopic LLC, instantly extends or retracts to obtain the best shot possible. With its ability to smoothly, silently and quickly move the camera in and out of hard to reach areas, Techno-Jib enables innovative and creative shots that were previously considered too expensive or technically challenging.

For the first time, a single operator can control diverse camera movements — including zoom, focus, and the telescoping of the jib arm — through a customizable user interface. Controls and a viewing monitor mount easily on either side of the arm and can be positioned for optimal viewing and user convenience. What’s more, Techno-Jib can also be fitted with a remote film head with conventional hand wheels.

Techno-Jib 24 extends from a minimum reach of 9 feet (2.7 meters) to a maximum of 24 feet (7.3 meters), enabling shots that could only be previously achieved with the use of a telescoping crane. The arm travels at speeds of up to 5 feet per second and a unique “Soft Stop” feature guarantees an automatic smooth stop every time. Units come standard with a Mitchell Mount adapter and can easily accommodate most remote heads under-slung or over-slung. Adjustable weights ensure jib arm balance with all popular remote head/camera combinations. A smaller version – the Techno-Jib 15, with a maximum reach of 16 feet (4.9 meters), is also available.

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Panasonic Announces Availability Of 64GB P2 Card

Panasonic today announced the high-capacity 64GB P2 card allows professionals to record for hours, offering double the record times of the 32GB P2 card and increased storage capacity for larger high-definition data files. The new P2 card also features an improved transfer rate of up to 800 Mb/s for faster transfer and offload of P2 content.

Exceeding the typical storage capacity of tape and disc-based systems, the reusable 64GB P2 card can hold more than five hours of DVCPRO footage (356 minutes), more than two hours of DVCPRO50 or AVC-Intra 50 recordings (128 minutes), or more than an hour of full raster AVC-Intra 100 or DVCPRO HD content (64 minutes). With five 64GB P2 cards installed, an AJ-HPX3000 P2 HD camcorder can record for 10 hours and 40 minutes in AVC-Intra 50 or DVCPRO50 (13 hours and 20 minutes in 24pN mode) or 5.3 hours in AVC-Intra 100 or DVCPRO HD (6 hours and 40 minutes in 1080/24pN mode).

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BuZZ Show and Podcast for November 27

This week’s episode of the world’s only interactive talk radio for Digital Production, Post Production and Distribution is filled with great information and entertainment designed for the independent filmmaker, producer or editor.

It’s a holiday in the US, so we have pre-taped this week’s show so that everyone can be home with their families. Still, Larry Jordan hosts an incredible line-up of guests.

Steve Cone, author of Powerlines: Words that Sell Brands joins us for a fascinating discussion of how the words you use to describe your business or product make all the difference in whether people are willing to buy it. He also shares a wide variety of corporate marketing disasters that can serve as object lessons for all of us.

Stacey Parks, CEO of Film Specific, Inc., has just returned from the American Film Market (AFM) with a report on what’s selling, what isn’t, and what producers need to know in this deadly economy.

Mark Pescatore, editor, Government Video magazine and GV Expo maven, joins us with a first-look at next week’s trade show. (Next week, the Buzz will be originating live from GV Expo in Washington, DC!)

Tom Tomchak, President, Edit Creations, Inc., adds his opinions on what works for archiving tapeless media and what doesn’t – from the perspective of his own personal experience.

Luigi Tramontana, Founder and Head of R&D, Craft Animations, has created animation software that doesn’t use keyframes – it uses simulations. This means that artists can now create mind-bending 3D effects – like cars traveling over rocks, or planes flying between buildings – in real-time, simply by manipulating a joystick. Amazing stuff!

You can’t find people or interviews like this anywhere else! It’s another amazing show — all the information you need now to know what’s coming next!

Creative Planet’s Digital Production BuZZ is live 6-7 pm Pacific Time. Join the Show Live, listen to, or download an episode from the archives or subscribe to the podcast through iTunes or off the website.

RED Announces Plans to Change Direction.

Jim Jannard, CEO of Red, announced on his blog that RED will be making new announcements on Dec. 3 and that past product announcements are likely to change.

We mention this just in case you were thinking of buying something, you might want to hold off.

Remote Destinations with Apple Compressor

Apple Compressor: Remote Destinations with Apple Compressor

Chapter: Workflow

Topic: Workflow

Being able to output with Apple Compressor, and upload in one step is a very useful function. I am guilty of not knowing what Remote meant when I would create a destination for my Compressor projects. Recently I got caught needing to compress a HD Quicktime movie to Mpeg4, and get it loaded up to the internet. The issue was I had to leave for the airport 10 minutes ago. with Compressor I was able to upload it to my iDisc. I started the compression with the iDisc as the destination, and left fpr the airport. While I was waiting to board my plane I hopped on the internet, downloaded the mpeg4 movie off of my iDisc, put it into an iWeb page, and published it to the web. Being able to output to my iDisc really saved me.


Larry Jordan Announces New PowerUP Tutorials

Larry Jordan & Associates Inc. announced his PowerUP Tutorials series. Based on his successful PowerUP seminar tour, this expanding set of short on-line techniques seeks to provide timely, up-to-date training not available elsewhere.

Currently, 14 tutorials are available with more being added each week.

Click here for more information.

K-Tek Announces New K-Tek Klassic Traveler Kit

K-Tek introduces the Klassic Traveler Kit. Created to meet the needs of the busy boom pole operator on the go, this convenient new kit offers the K-Tek Klassic 6-Section graphite boom pole (K-87CC), K-Mount microphone suspension (K-MT), and a slip-on Fuzzy windscreen (Z-FSO) in a single, cost-effective package.

K-Tek’s new Klassic graphite pole is engineered for quick storage and easy transportation. The six-section design allows the pole to collapse to a shorter minimum length, with no sacrifice to maximum reach. The K-87CC extends to 7’3” (221cm) and can be compressed to 1’10” (56cm). Crafted of high-density graphite fiber, the pole offers the same great benefits as the top-of-the-line Klassic 5-Section Boom Pole series. Locking collars feature K-Tek’s trademark dimples and a “Soft-Touch” rubberized sleeve for an easier grip and more comfortable feel. The K-87CC comes outfitted with an internal coiled cable and a bottom XLR connector.

The K-Mount microphone suspension (K-MT) offers users both the ruggedness of a shock mount and the isolation characteristics of more expensive suspension systems. The system features K-Tek’s unique 4-point polymer microphone suspenders (K-SUS) fitted precisely into a handsome cylindrical aluminum frame.

The K-Tek Slip-On Fuzzy combines a high-quality faux fur exterior with a tightly woven fabric backing — making it the only slip-on windscreen with an extra layer of wind protection. Users have a choice of a small, medium or large windscreen to fit a multitude of microphones.

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CoreMelt Complete Bundle and PolyChrome 1.1 released

CoreMelt releases Complete Bundle. CoreMelt Complete includes ALL 4 CoreMelt plugins packs, ImageFlow Fx, PolyChrome Transitions, Motion Pack and Editing Pack. In total providing you with over 130 screamingly fast GPU accelerated plugins aimed at streamlining your motion graphics and video effect, to allow you to be more creative.

PolyChrome Transitions is a collection of 43 transition effects to enhance your creative possibilities in FCP editing. All transitions render in high precision color for 10 bit online workflows for those working with footage from the RED camera or or other high color precision sources. Read our workflow papers on using CoreMelt tools to perform 10 bit online editing inside FCP. Enhance your online editing workflow with new styles of transition, PolyChrome is a complete range of grunge, filmic and stylised transitions for all types of edit.

Click here for more information.