Sony XDCAM Price Increase Takes Effect TOMORROW! FS5, FS7, Z150

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Several of Sony’s 4K XDCAM S35 Models are set for a price increase tomorrow, September 15th. This includes the popular FS5, FS7, and Z150 cameras. Luckily, current prices will be honored on orders placed today! This includes pre-orders, back-orders, and lease applications!

Here’s a look at the popular cameras being affected — click through each link to place an order:

Contact us immediately if you have any questions; we’re literally counting the hours until these low prices disappear.

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Canon Cine-Servo Lens Eligible for Lens Mount Exchange Program

Canon announced on December 19th that the Cine-Servo 17-120mm (Part #s: 9785B001, and 9785B002) are now eligible for the Lens Mount Exchange Progam – allowing users to convert from EF to PL mount or vice-versa.

From the announcement:
“Canon USA’s Cinema Lens Factory Service Centers can perform the modification on eligible lenses. The cost of the mount conversion kit is $800 for the Cine-Servo 17–120mm. Additionally, a $400 labor charge and applicable return shipping fees will also apply for each lens modified. The parts comprising the original mount will be returned to the client and can be reused as necessary.”

Also of note: the modification process does not affect the manufacturer’s one-year limited warranty. Contact Texas Media Systems about initiating a change!

How The New Atomos Shogun Stacks Up Against Convergent Design’s Odyssey 7Q

Odyssey 7Q Shogun
Image convergent_odyssey7q_b atomos_shogun_web
Cost 1795 1995
Display 7.7″ OLED, 1280×800, RGB 8-bit panel, ~ 16 million colors, wide gamut, 3400:1 contrast, 176° viewing, true blacks 7.1” 1920×1200
SDI Video I/O HD-SDI/3G support: Single/Dual link, 2-inputs, 2-outputs, 2 Bi-Directional (can be inputs or outputs), Full-size BNCs 1 x 4K-SDI 12G/6G or HD-SDI 3G/1.5G (SMPTE) input, 1 x 12G HD/SD-SDI (SMPTE) output
HDMI Video I/O HDMI I/O Version 1.4a support, up to 1080p30 422 8-bit (Mini HDMI) 1 x HDMI (1.4b) input, 1 x HDMI (1.4b)output
LUT Support ARRI Log-C, Canon C-Log, Sony S-Log, S-Log2, S-Log3 LUTs (No Custom LUT Support) REC709, C Log, Y Lift/Gama/Y Gain adjustable, (FUTURE) 3D LUTs
Focus Assist Video + Edges (Peaking), Edges Only, Enhanced Edges, user choice of color: Red, Green, or Blue Video + Edges (Peaking), Edges Only, Enhanced Edges, user choice of 7 colors
Zebras Currently one programmable level, future two programmable levels One programmable level from 50% – 105% in 5% increments
False Color False color with 5 programmable levels Yes, but no programmable levels
Waveform Monitor Luma only, RGB Parade, Red only, Blue only, Green only, Full Size and Compact Size Options Luma only, RGB Parade, Full Size, Compact Size and lower thrid Options
Histogram Luma only, RGB Parade, Red only, Blue only, Green only, Full Size and Compact Size Options No
Vectorscope (FUTURE) Color Vectorscope with 2X zoom Yes, compact size, full sze and zoom
Pixel Zoom 1:1 and 2:1 Image Magnification with frame drag 1:1 and 2:1 Image Magnification with frame drag
OLED Frame Reference Vertical Auto-Flip (defeatable), Aspect Ratio Guides Vertical Manual-Flip , Aspect Ratio Guides
Multi-Stream Display  Display four independent 1080 HD streams simultaneously (Quad-split) with live-switch capability No
Digital Audio I/O** 8-channel embedded audio (48KHz, 24-bit) (2 channel initially, 8-channel via future firmware update) 12-channel embedded audio (48/96kHz 24-bit) plus 2 channels analog input for 14 total channels
Analog Audio I/O** 3.5mm 2-channel unbalanced or 1-channel balanced input up to -10dB, 3.5mm stereo headphone output XLR 2-channel balanced (with pigtail) mic/mic48v/line input, 3.5mm stereo headphone output
Remote and Timecode RS-232 I/O (FUTURE), programmable GPIO (FUTURE). Timecode: LTC I/O (BNC) or embedded SDI / HDMI LANC control – Master and Slave. Timecode: embedded SDI/HDMI
User Interface Capacitive Touchscreen, Two mechanical keys Capacitive Touchscreen, One mechanical key
DC Power Input 6.5 to 34 VDC with built-in reverse polarity protection; locking power connector, built-in power switch 6.2V to 16.8V
Power Draw 8 Watts (monitor only), 9-12 Watts (simultaneous monitor/record mode) 6.8W – 11W
Weight and Size 560 grams / 1.2 lbs., 7.9″ x 6.1″ x 1.0″ (200 x 155 x 25 mm), -10 to +40°C (Operating), -20 to +70°C (Storage) 460g/16oz (without batteries & HDD), 645g/23oz (with batteries & HDD), 196 x 110 x 47mm, 7.7 x 4.3 x 1.85”
Onion Skinning** (FUTURE): Overlay pre-recorded still frame on live video with opacity slider No
View Monitor Out** Record Clean Video (FUTURE): Display the monitor-out (viewfinder data) on the OLED while recording a clean video signal.
Available when using the SONY F3, SONY FS700, CANON C500 and ARRI Alexa cameras.
No
Record Triggers Touchscreen, SDI record trigger (ARRI, CANON, PANASONIC, RED, SONY), HDMI (SONY, CANON), Timecode, (FUTURE): Optional remote control cable Touchscreen, SDI record trigger (SDI Trigger Camera Selectable, Timecode, Auto HDMI Trigger
Supported Protocols – Canon, Sony, Atomos Open Standard, Lanc
Recording Media Convergent Design SSDs with power-loss protection, in 256GB and 512GB sizes,
420Mb/sec write, 500Mb/sec read speed, compatible with USB 3.0 and Thunderbolt Adapters. SSDs and adapters sold separately.
4K / HD-(50/60/120p),CFast,SSD 2.5”
Raided HDD (5,400 to 10,000rpm).  HD-CFast,SSD,2.5”
HDD (5,400 to 10,000rpm)(Approved list only)
Recording Formats Compressed formats: 4K/UHD 10-bit YCC 422 up to 30 fps, 2K/1080p 10-bit YCC 422 up to 60 fps, 1080i 10-bit YCC 422 up to 60i, 720p 10-bit YCC 422 up to 60 fps, (FUTURE): 1080p RGB 12-bit 444 up to 60fps
Uncompressed formats: 1080p RGB 10/12-bit 444 up to 60fps  (base Odyssey7Q, additional codecs can be purchased)
4K-UHD 3840×2160 8/10-bit 4:2:2 – ProRes HQ 422 LT, Lossless Cinema DNG
(data rate camera dependent), 1920×1080 8/10-bit 4:2:2 – ProRes HQ 422 LT, Avid DnxHD 220/220x
145 36…(FUTURE)12G-SDI 4K 50/60p ProRes HD 4:4:4 10-bit
FS700 RAW decode
Full 4K – 4096 x 2160
Construction Metal Alloy High quality lightweight ABS Polycarbonate for durability & portability, Heat pipe cooling technology
Pulldown Conversion 50i from 25PSF > 25P (2:2 Pulldown)
60i from 30PSF > 30P (2:2 Pulldown)
60i from 24P > 24P (3:2 Pulldown)
60i from 23.98P > 23.98P (3:2 Pulldown)
Playback Yes (FUTURE)Yes
Compatible batteries Additional optional battery plates NP series, D-Tap and supporting accessories (Nikon ENL6, Canon EL6)

…and Canon will now sell a grip of 5DmkIII’s!

The excitement is palpable.  Reading the forum posts at the ML Forum you would think photography had just been created.  The news has been milling around for a few weeks that the Magic Lantern dev team had basically reversed engineered Canon’s image capture>process>record pipeline such that raw data from the sensor could be extrapolated and written.  Then they excavated some ancient code from Canon’s implementation of DryOS that would write DNG files.  Once this was thoroughly tested and accomplished, the ML dev team was miraculously able to instantiate a process of windowing specific parts of the sensor, cropping the raw data output to that size, and writing that cropped raw data stream to the memory card.  This means that, while still in the alpha stage of development, shooters can capture, process, view, and edit the absolute best motion picture imaging these cameras are capable of.  The excitement is palpable..  Continue reading “…and Canon will now sell a grip of 5DmkIII’s!”