RED has announced the all-new DSMC2 BRAIN w/ DRAGON-X 5K S35 sensor. Take a look!
The DSMC2 DRAGON-X™ 5K S35 delivers the same image quality as its predecessor along with these benefits:
High frame rates at 5K
Blazing fast data speeds
Access to RED’s latest image processing pipeline (IPP2).
Don’t worry. In the spirit of “obsolescence obsolete,” owners will have the ability to upgrade to other sensors in the DSMC2 family.
With a compact design, the DSMC2 DRAGON-X allows for all-around adaptability under any circumstance. Whether capturing that once-in-a-lifetime moment, creating content for YouTube, or taking part in a “run-and-gun” style shoot, you can harness the performance and power of RAW knowing your camera can go anywhere and won’t hold you back.
The RED Digital DSMC2 DRAGON-X has two options available for purchase:
In what seems like the endless stream of Full-Frame Mirrorless camera announcements this summer a new contender has just entered the ring!
Exciting New Specs
Earlier today at Photokina Panasonic announced the Lumix S1 and S1R. Similar to Sony and Nikon’s recent offerings the new Lumix camera will come in two flavors. The S1 will feature 24 megapixel resolution and the slightly up-spec’d S1R will have 47 megapixel resolution.
Other key spec’s that Panasonic is touting for the camera is it’s dual image stabilization, 3-axis tilty-flippy LCD screen, Dual XQD/SD card slots, 100% weather sealing and of all things resistance to low temperatures (Panasonic appears to be trying to shake Canon and Nikon’s strangle hold on the nature and adventure photographer market).
One last feature that the New Lumix will feature is 4K 60p recording (50p for all you PAL folks). The S series is the first, and so far only, full-frame mirrorless to feature 4K 60p recording. THE WAIT IS FINALLY OVER!
New Collaborative Mount
Panasonic will also be introducing a new mount to go along with the new cameras. The L-mount is relatively new product of a collaboration between Leica, Sigma and Panasonic. The mount is 51.6mm in diameter and has a 20mm flange distance. The new specs puts it squarely between Sony’s E mount and the new Nikon Z and Canon RF mounts in terms of size and ability to use adapters.
Outside of 4K 60p recording and 24/47MP sensors not many other details have been released about the new camera’s features. Given the camera’s Lumix lineage it’s safe to assume that the S1 and S1R will have similar max shutter speed and other video modes to the GH5.
Exact Release date and Pricing TBA
Panasonic has announced that the S1 and S1R will be released in early 2019.
Pricing for the camera has not been announced. Going by the competition it is safe to assume the bodies will be around $2000 for the S1 and $3000 for the S1R.
They did not confirm any lenses that will be releasing with the cameras. However, they did announce a commitment to expand the lineup of S-series compatible lenses to more than 10 by 2020. They mentioned 3 lenses in this expanded lineup specifically.
So far a 50mm f1.4, a 24-105mm, and a 70-200mm lens were included in the press release. (No max aperture for the 24-105 and the 70-200 were announced.) Based on some of the photos used during the Photokina presentation, it is safe to assume that these lenses will be released with S1 and S1R. The 24-105mm will likely be a kit option.
Currently, the only L-mount lenses are from Leica. They have 11 full-frame L-mount lenses in production at the time of writing.
With Panasonic entering the game it is now undeniable that full-frame mirrorless is (or at least will soon become) the new standard in Photography. Panasonic has lead the way in introducing rock solid video performance in a small package with it’s Lumix GH series cameras.
It’s too soon to say if there will be any major video improvements over the GH5 and GH5s, but the introduction of a full-frame sensor will make the new cameras much more appealing to crossover shooters.
Without official confirmation on pricing and a few other key video features (looking at you 4:2:2 10bit internal) it’s hard to tell how these will stack up against the A7iii and A7riii. If the S1 and S1R come in within a few hundred dollars of the current A7 series lineup, Panasonic will be rocking Sony’s full-frame boat pretty hard.
Overall the Lumix S1 and S1R pack a lot of great features into a single camera which will make Panasonic an increasingly viable alternative for professional photographers who want to switch to mirrorless and videographers who need rock solid video in a full-frame package.
The Full Photokina Panel
If you have any questions give us a call at 512-440-1400 to speak with a sales rep today or shop Texas Media Systems online here.
Canon USA has just released the Canon C200 and C200Bfirmware version 22.214.171.124 update that is available now. If you’re an owner of one of the two cameras we highly recommend to update and keep your equipment up to date. Here are a few things on what’s been updated and fixed with this new update.
Firmware Version 126.96.36.199.00 incorporates the following fixes and enhancements
Fixes image quality degradation, such as color misalignment or edge distortion, may occur in the recorded footage when using the following combination of settings:
– recording format XF-AVC
– frame rate 59.94i / 50.00i
– 1920×1080 resolution
Optimizes the Black Gamma compensation when Normal 1 to Normal 4 is set for Gamma in the Custom Picture settings.
Optimizes color accuracy in areas of high brightness when Normal 1 to Normal 4 is set for Gamma in the Custom Picture settings.
You cannot perform the firmware update using CFast 2.0 cards. Please use a commercially available SD/SDHC/SDXC memory card that is 128MB or more for the firmware update.
Firmware version 188.8.131.52.00 is for updating Cinema EOS C200 cameras running firmware version 184.108.40.206.00 – 220.127.116.11.00. If your camera’s firmware is already version 18.104.22.168.00, it is not necessary to update the firmware. Once the camera is updated to the latest version, it cannot be restored to a previous version.
Steps for the Firmware Update
After the firmware update has been performed, the camera’s menu and custom picture settings will be reset. It is recommended that users save their menu and custom picture settings as settings data to an SD card, separate from the one that will be used to carry out the update, before starting update operations. This saved data can be loaded into the camera and the settings can be changed after the update has been completed. You can download the firmware update here. The downloaded folder will contain the firmware (file name: VNC4.FIM / file size: 39,287,424 bytes), and instructions on the firmware update procedures.
Before starting the firmware update operations, please be sure to carefully confirm your understanding of these instructions.
The following things are required to perform this firmware update:
1. An EOS C200 or EOS C200B camera body
2. A computer (OS Requirements: Windows 10, Windows 8.1, Windows 8, Windows 7 SP1)
3. A 128 MB or higher-capacity SD/SDHC/SDXC memory card (both commercially available)
4. An SD card reader/writer (commercially available) or an SD card slot built into the computer
5. A fully charged battery pack for the camera
6. Compact power adapter bundled with the camera
7. The firmware (the downloaded file)
Once you have everything ready it’s just a matter of uploading to your camera. For a complete detailed version of how to update the firmware on your camera click here.
If you have any questions give us a call at 512-440-1400 to speak with a sales rep today or shop Texas Media Systems online here.
Apply now by completing the leasing application below and get same day approval!
*Estimated monthly payments and total. Final amount may vary. Accessories not included in amount listed.
We will provide a tax exemption form if applicable in your state of purchase. Insurance will be needed on the camera. You may add to an existing insurance plan that qualifies or get insurance through the leasing company.
Give us a call at 512-440-1400 to speak with a sales rep today!
At Texas Media Systems our goal is to help you get the equipment you need, when you need it. Chris Brank is the founder and CEO of Let People See, a video production agency based in South Carolina. His business has utilized the leasing options we have to get the gear he needs or to simply add another tool to his kit. Let People See just won a Gold American Advertising Federation award for a mini-doc that was shot in the Congo that you can watch here. We took the time to chat with Chris about how he got started, his business and more.
What’s your earliest memory of filmmaking or the moment you knew you wanted to pursue this as a career?
Chris: It might not be the earliest moment, but back in 2012 I was planning a trip to Lima, Peru. I had been shooting fun little promos and corporate work, some of them profitable, but I decided it was time to shoot for the moon. Canon announced the Canon C100 and one of the first stores in the U.S. to get one was this place called Texas Media Systems. I struck up a conversation with Leroy and we worked for weeks to get one of the very first Canon C100’s shipped to me before my Peru trip. The giant box was delivered the night before the flight, and the whole week in Lima I only brought it out of the case twice! I said I was terrified to get it dirty, but secretly I didn’t even know how to use the thing. Three Canon C100’s later (along with two Canon 5D Mark IV’s, a Canon 1DX Mark II, two Canon C300 Mark II’s, and four Canon C200’s), I still don’t know how to use them to their full potential. But along the way, I’ve found team members who are way better than I am.
Your company Chris Brank Films started in 2011 and you recently transitioned to a new banner, “Let People See.” Can you talk about some of the projects you started working on and what’s the story behind “Let People See.”
Chris: I never liked working alone! And so even as “Chris Brank Films” it would always be “Hi, I’m Chris, and this is Taylor, David, John, Lauren….” And because of the team approach, nothing was ever just a “Chris Brank” film. I was thrilled to change the name! After many nights on godaddy.com, we finally found something that resonated with what we do. We “let people see” the awesome things our clients are doing! And Let People See was born. Or…registered.
As an independent filmmaker with a small team, expenses must be very important. You’ve leased quite a bit of equipment with us, can you talk about how that’s been a benefit to your company and being able to grow?
Chris: Absolutely! Payroll is tough – cash flow is of utmost importance. We’ve often got 2-4 shoots happening at the same time. And as we’ve continued to grow, I can’t tell you how many emails I’ve sent to Leroy along the lines of: “We’ve got 20 shoots over the next 3 months and we need another camera and another set of lenses. Can you get it here by next Tuesday?” The leasing options are fantastic because we usually don’t have the money until after shoots are wrapped, but we need the gear to accomplish the shoots. Leasing gives us no hesitation to grab gear at 0% or incredibly low interest rates. We know we can get the gear and get the job done!
What would you tell people who may be hesitant about the lease to own program?
Chris: Cash flow is what can make or break a business. There’s so many 0% options or incredibly low interest rate options through Texas Media Systems (we’ve found the 36 month with 1.9% interest to be a sweet spot), it’s a no-brainer for us to split up the cost of equipment. “Spend it all now” or “split it up over time”… seriously, it’s a no-brainer when interest rates are ridiculously low.
What’s in your arsenal right now? Do you have any must-have lenses or cameras you can’t live without now? Any favorites to shoot with or your team’s favorites?
Chris: Right now, each of our kits has two Canon C200’s, a Canon 5D Mark IV on a DJI Ronin-M, and a full set of Canon L primes and zooms (24mm 1.4L, 35mm 1.4L, 50mm 1.2L, 85mm 1.4IS, 100mm L Macro, 24-105mm 4.0L II, 70-200mm 4.0L IS, 16-35mm 4.0L IS, 100-400mm II). We’ve got two of those kits, and also two C300 Mark II’s. For stills, we’ve got a 1DX Mark II and we’re working on building another Canon L lens set. We’re also traveling with Quasar Science bulbs that we bought through Texas Media Systems…those have been game-changers!
Can you talk about the approach to a project “Let People See” takes and how having the varied equipment helps you make the best product for a customer.
Chris: We really serve as a video factory for agencies and brands. They tell us what they want, we make it happen. We’re incredibly involved on the execution side, so takes plenty of crew and plenty of gear. With equipment like DSLRS, Canon C200’s, and Canon C300 Mark II’s, we’re able to work on a wide range of production levels. The Canon C200’s are used on 95% of the work (with the .mp4 codec on beautifully inexpensive SD cards), but they have the ability to step up to RAW if the project calls for it.
What are you working on now that you can share with us?
Chris: At any given time we’ve got 10-20 projects in the works, the juggle is half the fun! Some of the most exciting projects right now are an upcoming conference in Minneapolis, some tourism work in the mountains of North Carolina, and a trip to Toronto for an awesome scrap metal company.
Why do you keep coming back to Texas Media Systems?
Chris: The customer service is exceptional. We’ve been able to get everything we need exactly when we need it for seven years straight. The access to a real person on the phone in under 30 seconds is getting harder and harder to find! There are plenty of suppliers closer to us in South Carolina, but when you find someone you trust, it doesn’t matter where they are. I trust Texas Media Systems, and they go above and beyond to retain that trust. That’s what matters!
Take a look at Let People See’s demo reel that was shot on Canon.
You can see more of Let People See’s work by visiting their website www.letpeoplesee.com. If you’re looking for equipment for your company, give us a call at 512-440-1400 to speak with a sales rep today!
Canon has introduced two new telephoto zoom lenses, the Canon EF 70-200mm f/4L IS II USM and Canon EF 70-200mm f/2.8L IS III USM.
The new lenses serve advanced amateur and professional photographers in a variety of applications and solutions including wildlife, landscapes, portrait and sports photography. Canon EF 70-200mm focal-length lenses are a popular option for photographers in need of a long zoom range that maintains a relatively compact design. In addition, these updated lenses inherit the same overall build-quality and ruggedness photographers have come to expect from the Canon EF L-series line of lenses.
“At the core of image capturing, Canon believes the lens is just as important as the camera. A seamless relationship between the two allows photographers to produce emotion-evoking and timeless images,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is excited to offer photographers two distinct options in the 70-200mm focal-length, continuing to further expand our optics heritage.”
The new Canon EF 70-200mm f/2.8L IS III USM is an ideal lens for professional photographers who shoot with the Canon 1D and 5D series of DSLR cameras. The inclusion of Air Sphere Coating (ASC) technology helps to reduce flaring and ghosting, and suppresses the reflection of light.
Additional noteworthy features of the Canon 70-200mm f/2.8L IS III USM include:
Optical Image Stabilizer up to 3.5 shutter speed stops of correction
Fluorine coating on front and rear elements helps to reduce smears and fingerprints
Inner focusing system with Ring Ultrasonic Motor
One fluorite lens and five UD lenses helps to provide high-image quality
Minimum focusing distance of 1.2m (3.9ft)
Lens features 23 elements in 19 groups
Circular eight blade aperture
The Canon 70-200mm f/2.8L IS III is scheduled to begin shipping in August 2018 for an estimated retail price of $2,099.00.
If you own a Canon C200 or C200B camera, you’ll want to read the following announcement from Canon. They have determined that a recording error may occur with the EOS C200 / C200B. The details of the phenomenon and support plan are described below.
Image quality degradation, such as color misalignment or edge distortion, may occur in the recorded footage when using the following combination of settings:
recording format XF-AVC
frame rate 59.94i / 50.00i
Users should use a configuration that does not include the settings listed above, although we acknowledge that this may not be possible for all users. Note: This Phenomenon only affects internally recorded footage. Output signals from the output terminals are not affected.
EOS C200 / C200B Digital Cinema Cameras equipped with Firmware Version 22.214.171.124.00 are affected.
Firmware Version 126.96.36.199.00 has been removed from Canon’s Web site.
The new Firmware is scheduled to be released mid-June 2018.
This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.
Contact Information for Inquiries
Canon Customer Support Center
Phone: 1-855-CINE-EOS (toll free)
For additional support options: usa.canon.com/support
If you have any questions, feel free to give us a call at 512-440-1400 to speak with a sales rep today! Looking to buy the Canon C200 or C200B, financing options are available!