Sony FDR AX 100 permiere camera 4K abordable

SONY-FDR-AX100 It was announced at CES and I have not yet spoken, I was a little let down with this camcorders “form factor” as say the Anglo Saxon … The attraction of 4K accessible and affordable has won over my reluctance to use “handicam the belle mère” however, this format is not unpleasant to grip and if I had to draw a fist camera, I think she would have a good chance to take this elongated because the grip is quite good. However imagine my dismay when I found myself with an old bursts to shiver and tremble like a jackhammer. Short not leave my house I do not have the strength yet it's nice outside so more than a movie I put together plans with the star of the moment to know the cat and shots of the window … This is a pre-production model which is not yet finalized at the internal software, so we put a big damper on what I tell you there.

Do not hesitate to increase the quality by clicking the small gear on the bottom right of the image on YouTube.

The specificity of the cameras are interesting we knew It records images 3840 x 2160 px on an SDXC card (class 10) and can also make the HDTV (1080/50p) all in a fairly compact : 915 g pour 22 cm. The objective is signed Zeiss, it opens at f:2,8 but the opening is not constant. The zoom range covering equivalent 24×36 ranging from 348mm 29a. One can also note the presence of ND filters integrated 1/4 1/16 1/64 This is handy in case of high brightness.

Codecs : – XAVC S 4K – XAVC S HD – AVCHD 2.0
Sensor : – Exmor R CMOS 1 inch (14,2 Mpx)
Goal : – Carl Zeiss Vario Sonnar T (f/2,8-f/4,5) – 12x optical zoom, – Grand angle 29 mm (equivalent 24×36)
Interfaces : – HDMI, micro mini-jack, casque mini-jack, USB
Definitions : – 3840×2160, 25p, 24p – 1920×1080, 50p, 50in, 25p – 1440×1080, 50in – 1280×720, 25p (MP4)
Screen : – LCD 8,9 cm de 921 000 pixels
Viewfinder : – Color OLED 1 cm de 1,44 Mpx
media : – Cartes SD / SDHC / SDXC (SD XC classe 10 required for 4K)

Stuff in a little sweet snack I also noted that it was impossible to save images 24 a one 25 on the same map, it must be re-formatted, Although we did not need to play with it but it is still fashionable Sony “I have to choose and this choice is final” ce qui est quand meme agaçant. Ditto their tendency not to suffer if the card has been used in another device, It's a pity. Said card has to pedal very quickly if you do not have a SD-XC you can not do 4K. In this connection it should say Ultra HD because it's 4K 16:9 and that definition is for the cinema. Registration is still 24p 23.98p. Sony launches the first declension “long-gop” XAVC its new codec version “public” S-called XAVC. And we can see that it's not bad at all 60MB/sec image is very beautiful quilted and even reduction in HD on my favorite plasma remains ultra esbroufante ! I'm not about to stop to say and write le 4K ça pique ! To produce images in 4K, the AX100 uses a wide large enough sensor 1 inch, it is an Exmor R CMOS course family a Sony sensor definition 14,2 Sensitive to mpx 6 lux (1/60). This size is quite unprecedented on a camcorder stepmother, The interface is rather interesting, there is an endless ring on the lens to manually adjust the focus, shutter speed, Iris and zoom. The camera is very nice to handle, the finish is good, small traps for HDMI, Jack for headphones or microphone are fairly well distributed and rather well made, it's serious and we feel that it will take a long time, which is rarely the case in this type of product. Detail-AX100Note the now traditional shoe accessory that Sony adds a XLR mic preamp K1M that can also connect on Alpha 7 and 7R as the RX10 RX100 etc.. Little something that makes ch… the claw is embedded in a door that is raised and leaves appear claw which is inserted into a recess which does not allow him to set what we want. It's pretty lousy, I'm sorry to speak ill but other Sony accessories are sometimes needed to fix something else, une Minette, a microphone of a different brand !? I found against by the viewfinder as the articulated LCD are quite dull and not well calibrated, exposure is impossible to judge on the screens and I ended up overexposed almost all the time, to adjust so before starting shooting ! In malignant stuff I like the management of on / off, the camera is put on at the opening of the screen when you pull out the viewfinder is also articulated. In the other stuff not glop, Snapshot recording is endless, and the possible reactivity between the time you press the REC button and the actual start of recording reminds me of the good old tape cameras which is not necessarily what I prefer these old bikes. I noticed that the bulk sensor 1 thumb was certainly very defined, the colors were quite interesting but had trouble with the lights low and above there is a large rolling shutter, very very naughty ! Although I am not an ayatollah of rolling shutter, arguing to anyone who will listen to me that I passed the age to panoramic ultra speed way MTV, I confess to a sensor of this size is a bit abused. Brief return to 14.2 megapixels in a sensor 1 inches it took to go with a shoehorn and it pays a little on the low lights but the end result in lighting conditions is very impressive, this is the beginning of the 4K and I confess that the level is already very good, I'm on the c… stitched side it's pretty amazing that it comes out ! To those who are skeptical about the usefulness of such a definition, I invite you to see what happens in terms of sharpness, we approach the quality of the photo, we must not forget that we went 2MP recorded in HD 8MP 4K and even on a HD screen and see the difference it's beautiful ! I am not an aficionado of the resolution, for me it is clear that this is not necessarily what makes the final image quality but is like dough, if it does not buy happiness, ça personal contribution … Waiting to test soon the GH4 Panasonic tickles me that since its announcement I think this camera is a real nice tool for those who do not want interchangeable optics and ergonomics of the case photocam, the price is quite measured and despite minor flaws the quality is really there for you who wants to have fun.

Sony Alpha 7, great photo !

Sony Alpha 7 + Contax G / Zeiss et Bague Deo Tec

And you will ask me what I think video ?

I do not go into detail on the characteristics of boxes Alpha7 and 7R which have been widely described in the articles of my colleagues. The main difference of the two devices is at the sensor, A7 le of a sensor 24 MP 7R and inherits the 36MP sensor already present in the NIKON D800 which is also free of low-pass filter while the A7 has a sensor equipped with the said filter 24MP ...

These case are true hybrids, they are very compact and do not offer mirror or lens sighting. This one is relegated to a good quality electronic viewfinder using OLED technology. The viewfinder is an important element in the video as the photo and the electronic viewfinder allows for immediate rendering of what is recorded at the exposure and color rendering / contrast.

The viewfinder 2 boxes is very nice, the big criticism of the electronic viewfinder for most photographers, it is the refresh rate which is quite unpleasant. Videographers have used to have a refresh in the viewfinder that matches the frame rate selected it is not so what is the most troublesome. On this type of cameras and due to very low optical printing Frame E we start dreaming up his old stones to manual focus and other optical vintage. To me the Super Takumar and other Leica R, I managed to test the rings rings adapter Novoflex home to play with the old vintage Pentax and Leica R to my collection as well as Contax G via a WD TEC ring that keeps the autofocus, this is a bit winded but it works pretty well.

The combination of these new ultra defined sensors is very interesting given a look at his images through the choice of optics and their signature and I admit that the warm and sensual side of my old Leica 50mm Summicron R including I like a lot.

The viewfinder is not necessarily enough defined despite its 2,4 MP to hope to focus manually without using the assistance of the magnification (zoom image) ou du peaking (surlinage net areas in the image). But these two function really make things easier. The rear screen is of good quality and size brings true comfort, it is adjustable but it is still only on a vertical pivot mode, which is still quite limited, I would have preferred a swivel screen like the Panasonic GH3 or Canon EOS 70D.

Perceived quality and the grip is quite good, gives the look fashionable neo-retro that does not displease me but I think that in terms of pure ergonomics is not what more effective. Including the positioning of the viewfinder, his uncommon those who understand that the viewfinder in the middle of the box is not necessarily what more practical, humans being provided with a respiratory appendix called nose coming and systematically butter against the back of the limp. If this position is essential for an optical reflex viewfinder is useless in my direction when it comes to electronic viewfinder. A rare exception builders did not understand what was the supremacy of the rangefinder was not only related to technology but also its position in the case, so put your sights in the area ! Le NEX 7 has a viewfinder in the corner and this is one reason that makes it pleasant to use. Yes I know everyone does not look the same director ... so make boxes with a viewfinder on a rail while gentlemen engineers ...

Aside from the video record button is oddly positioned on the side of the grip, the rest of the buttons falls rather well, except the front dial is designed as a cylinder which is often confused with the trigger. The software interface is pretty good and pretty clear at the menu tree.

The absence of a low-pass optical filter frightened me and I imagined the A7 a more obvious hair video because it is known that it is a source of problems alisasing (stairs effect) or moiré (difficulty on the details of repeating units) a priori, the 7 7R and deliver a very similar picture in which there is still a lack of sharpness, it's pretty disappointing and there is a concern in low light mottling, the alisasing is sometimes present, it's pretty random and also has a bit of moiré. The choice of AVC-HD codec in its version 2 jusqu’a 28 mb / sec remains below the capacity of such a sensor and it would welcome that Sony offers us something a bit more advanced, Canon and Panasonic codecs offer a little more muscular keeping the engine H264 compression and offer speeds of around 80mb / s. However, HDMI output also allows to save an uncompressed signal via an external recorder. You can choose between different models available on the market between ATOMOS Ninja / Samurai, AJA Ki Pro Mini and the other SOUND DEVICE Pix Unfortunately it is still 8bit which is not bad but not enough to compete with the big professional camcorders, However this feature is welcome. Warning I already see you all ready to announce that this case does not make nice video as some colleagues have been trying to explain it to us. Not, A7 and A7R are not bad on video and I even think that they are above certain boxes, néanmoins je préfère le rendu de mon GH3 chouchou et je suis impatient de tester le GH4 😉

Sony is proud to announce that they do not practice "skiping line" used by other manufacturers due to lack of processing power. The number of pixels on a DSLR is 10x higher than what we need in video (to recall a HD video image is less than 2MP) many manufacturers who simply treat 1ligne on 2 or 1 online 3 which often negative effects on the final quality and causes including aberrations, particularly the alisasing. Bad luck it seems that these problems remain present in some configuration. The HD video image on Alpha 7 7R and may be registered 25 or 50 frames per second in high definition video 1920×1080 progressif in egg entrelacé. Panasonic GH3 is a reference for me in terms of feeling stung on a video image in the range of photocam currently on the market, the last boxes from Sony are not very far, but despite the high quality of Zeiss lenses is still a step below, which is not dramatic, the picture is great but not as defined.

I do not think it is very difficult to rectify, this is especially the processing that is involved more than the codec itself, Canon or Panasonic manage to do great things with this codec on GH3 or other C100, Sony has very good results on the NX Cam and camcorders brand … unless this is still a strategy to not cannibalize sales of other products ? I find it a pity, this could really become a “Killer Product” thanks to its compactness and viewfinder could dethrone CANON if a little more care was taken at this level. Nevertheless, we must not cry wolf, in many situations the quality is largely satisfactory.

The autofocus is responsive enough video on 2 version of the casing, but it will definitely have dedicated optical, the 28/70 supplied as a kit with A7 is of good quality, it is compact and lightweight, it filled out its functions and it is a good everyday companion. Note that it is much more expensive outside of the kit and not available in kit for the A7R. In this connection a choice to, I chose for the time A7 "normal" in the video 36MP contribute nothing and picture is a non-essential for my use from the fact my fill faster hard drives. Nevertheless, it may be useful and the result is really striking.

XLR-KM1-SONYsmall For audio, the 2 Alpha boxes are equipped with microphone jack and headphone jack which is also rare enough to be welcomed. I appreciated the opportunity to connect the accessory to connect microphones with XLR taken as the RX10 and is now common to many Sony devices. A little admonition to finish, kick can charge the battery from its housing via the USB port it is, it is convenient because you can "forget" its charger at home we always find a micro USB cable. A real charger is better and it is a shame it is not in the box, this is a bit limited when put that price in a camera not to provide standard.

The conclusion is that these 2 boxes are really interesting for video use, and I completely fell for the A7 who joined my tote. The picture quality is really excellent, Frame E 24X36 really makes very interesting associations with old lenses via rings and it does not lack much to these 2 Sony boxes to move a step above the market leaders in a purely video use, I welcome this initiative and encouraging result for later. We can now consider using something other than Canon, Nikon and Panasonic to make the video with a good quality and the arrival of hybrid boxes is really good news because it will revive the debate a bit.

To see my point of view video on the A7 and it is here A7R :

DEO TEC Bagua adaptatrice Contax G Optique sur Sony Alpha 7 avec AF !

Sony Alpha 7 + Contax G / Zeiss et Bague Deo Tec

One of the problems of Sony Alpha 7 et 7R which are nevertheless excellent hybrid boxes is the lack of targets available at the manufacturer's catalog. Apart 50mm and 35mm zoom astronomical prices and not bad 28/70 there is nothing else. Les 50mm f:1,8 and signed 35mm Zeiss are excellent but totally overpriced. A big advantage of this Sony and A7 which is common to all hybrids boxes I'm talking about for years is the low optical printing (distance between the mount and the sensor) thereby fix many adapters. But then as the optical vintage we can say OK I passed on autofocus, as if these lenses are AF it is a shame to pass

DeoTec produces quite nice rings for Sony NEX and Alpha now 7 et 7R

What is amazing is that they have installed a small device that can control the development of optical Contax G (fabulous signed Carl Zeiss optics passage). Another adapter for optical CANON EF is also available.

How it works ?

In this case pure objectives Contax G, Ring stein information on electronic contactors E-mount Alpha 7 (it also works on the 7R and NEX) and a small motor drives the development of AF. You should know that the era of the Contax G1 and G2 the ultrasonic motors that are integrated into modern optical AF does not exist … it's not super fast, it does not suit the sports photo, but it is effective and it allows lower cost to equip the A7 or A7R superb quality objectives. For CANON EF is not so complex as the engine is in the objective. A small knob to adjust the focus manually as.

Anyway I'm pretty excited by these new rings whether or WD Metabones TEC or Novoflex there is good to be able to go antiquing optical old and be able to fully exploit these modern cameras either photo or video. Note for example that the old Leica R are also great stones that are quite sublime images on this same box.Carl Zeiss Sonnar 90 mm f:2,8

a small example of my photo model most docile of time with Sonnar 90mm f:2,8 Carl Zeiss

SONY F5 & F55, Prices !


Salut les ptit clous, c’est a priori à ce prix là qu’on pourra s’arracher les nouvelles cameras Sony annoncées il y a quelques semaines.

  • PMW-F5 15,340 €
  • PMW-F55 27,804 €
  • AXS-R5 S35mm F-series External RAW Recorder 5,206 €
  • AXS-CR1 Access Card Reader 549 €
  • AXS-512S24 Access Card 512GB for AXS-R5 External Recorder 1,535 €
  • SCL-PK6/F CineAlta PL Lens Pack (6 lenses) 19,895 €
  • SCL-PK3/F CineAlta PL Lens Pack (3 lenses) 11,118 €

[polldaddy poll=6754758]

The empire against attack : F5, F55 Sony, after the HD, il ya le 4K … new cameras, new codec …

Le slogan a déjà été utilisé pour la 3D et il semblerai qu’il soit recyclé pour le 4K, après l’échec commercial des télévisions 3D il faut bien amorcer le virage et trouver un nouveau prétexte pour vendre de nouveaux téléviseurs … Je suis taquin mais il est clair que la TVHD sera supplantée dès l’an prochain par la nouvelle norme dite “Ultra HD” … Exit le 4K il semblerait que la dénomination soit d’un commun accord l’appellation que l’on préserve au cinéma numérique. Dire qu’il y a moins d’un an on ne jurait que pour la 3D dans ce domaine, dire qu’il y a un an on se régalait du fait que l’écart soit de nouveau creusé entre la résolution de la TV et celle du Cinéma … Les choses vont trop vite mon brave môssieur, dirait tata Ginette elle a pas tord au final tata Ginette !

Sony a en cette fin d’année multiplié les annonces et celle ci n’en est pas une petite … Beyond HD il y a 4 caméras 4K ! La FS700, la F5, la F55 et la F65 …

F5 et F55 sont deux nouvelles caméras de nouvelle génération qui viennent s’intercaler entre la F3 et la F65. C’est dire qu’entre les 2 tarifs yavait de la place aussi …

Voici donc un petit résumé de l’essentiel de ce qu’il faudra savoir sur ces 2 cameras.

Pour commencer elles ont le même form factor comme on dit c’est à dire en gros que c’est le même boitier. La différence fondamentale est que d’un côté la F5 est une camera HD capable de 4K via un enregistreur externe et la F55 permet de jouer avec les 2 formats … ou plutôt “tous” les formats, “toutes” les tailles d’image. C’est sur ce point précis que Fabien Pisano responsable Sony Europe de cette gamme nous a dévoilé ces produits, autour d’une nouvelle technologie une nouvelle puce qui est assez miraculeuse car sur le même composant ils arrivent à gérer tous les formats XDCAM EX / XDCAM HD 4:2:2 50 et le nouveau codec XAVC qui est une réponse directe à l’AVC-ultra que Panasonic a annoncé il y a plus de 18 mois et dont les premières applications ne sortiront pas avant 2013. Il est vrai que Sony restait campé sur ses positions avec des codecs dérivés du Mpeg 2 qui ne satisfont que les broadcaster et pas vraiment les gens du cinéma. 35 mb/s ou 50 c’est bon pour la TV, pas pour le cinéma. Enfin tout ça reste la théorie, in finé l’amoureux de la technique que je suis pense sérieusement que c’est pas la taille qui compte 😉

Ce nouveau codec est donc un dérivé du Mpeg4 il est multi résolution, multi frame rate etc … in any case, il a l’air de représenter un gros challenge pour Sony. Ils ont l’intention de faire des déclinaisons autant professionnelles que grand public. Autant vous dire qu’a l’annonce de cette bonne nouvelle je frétillait de joie, elle fut de courte durée car en fait c’est pas du tout un pas en avant vers la simplification dans la multiplicité des formats. Ce codec supportera donc les hautes fréquences d’images jusqu’a 240fps, les hautes résolutions 4K ou Quad HD (qu’on appelle dorénavant Ultra HD quand on va choisir sa TV chez le crémier) mais aussi le 2K et la HD. Si j’en crois la présentation il semblerait (notez bien que j’utilise le conditionnel) qu’une version intra image soit au menu. Ce nouveau codec XAVC sera aussi capable de gérer du 8 ou du 10bits, 4:2:0 4:2:2 or 4:4:4 il sera encapsulé dans du MXF.

Voici les spécifications de la F5

  • S35mm 4K CMOS Imager
  • PL mount (with PL/FZ mount adapter)
  • Multi CODEC
  • High Frame Rates – 120p
  • Modular Design
  • Professional Viewfinder

Et celle qui marquent la différence pour la grande soeur F55 :

  • Internal 4K recording
  • Global Shutter
  • wide color gamut
  • High Frame Rates –180fps, 240fps (4k et 2k)

Nouvelle Carte AXS permettant d’enregistrer le 4K RAW sur le R5 et son petit lecteur USB3Le lecteur USB3 pour les cartes AXS

Vous l’aurez comprit l’une est clairement une camera HD capable comme la FS700 d’enregistrer en 4K via un enregistreur externe quand à l’autre, la F55, elle enregistre en 4K sur un recorder interne sur carte SxS Pro +. La F55 est donc la seule et unique caméra à pouvoir offrir ce type de fonctionnalité qui est pour moi primordiale et proposer une alternative à RED …

Même si d’un côté on a du RAW et de l’autre du MP4 c’est quand même un pas de géant ! A l’heure ou j’écris ces lignes, on a pas encore toutes les spécifications techniques complètes ni les tarifs.

Sinon voui, vous avez bien lu, il y a encore une nouvelle carte ! non pas que vous ne pourrez pas utiliser les anciennes mais elles ne seront pas compatibles 4K.

L’enregistreur SONY RAW 4K AXS-R5


La F55 pourra aussi enregistrer du RAW via le nouvel enregistreur externe 4K qui est annoncé en même temps le AXS-R5 qui pourra enregistrer du RAW c’est aussi le fameux recorder 4K que nous attendions pour la FS700. Cet enregistreur est capable d’enregistrer en RAW 4K sur un nouveau type de média baptisé AXSM (Access Memory System) et oui tien encore un nouveau support ! C’est tata Ginette qui va être contente !!!

Ceci étant dit ils ont bien compris le message et ici point d’accastillage façon sapin + guirlandes puisque cet enregistreur peut se fixer à la façon d’un dock à l’arrière de la caméra. J’ai horreur de ces systèmes d’enregistreurs externe trop de cables, la multiplication des alimentations, etc. … tout ça fait qu’on passe trop de temps à monter son mécano et qu’on complexifie le tout. Si on a inventé le camescope c’est pas pour s’enquiquiner la vie avec des fils de partout !

Ces deux caméras semblent le fruit d’une réflexion assez poussée, elles seront dotées de nouveaux accessoires et il semble que Sony ait vraiment compris que ceux ci devaient être au top. Ainsi on pourra choisir entre 2 type de viseurs un LCD et un OLED ainsi qu’un nouveau système de batterie à charge rapide et une crosse d’épaule, ça c’est cool !

En vrac et dans le désordre une upgrade V3 pour la F65 avec notamment la possibilité d’enregistrer 6K voir 8k via interpolation sur la caméra, et le support de hautes vitesses jusqu’a 240fps en 8K RAW, just that ! Le nouveau viseur OLED sera aussi bientôt greffable sur la F65 qui reste le vaisseau amiral de la marque.

Sony étoffe sa gamme optique aussi même s’ils se défendent de vouloir devenir opticien il semblerai qu’il y ait un poil plus d’ambition et de qualité dans cette nouvelle gamme qui couvre du 20 au 135mm sur 6 cailloux T:2.0

Un écran 4K 30″ est aussi annoncé mais ce sera un LCD car la techologie OLED a l’air délicate à gérer dans une telle résolution et un telle diagonale pour le marché pro.

C’est en tout les cas une vraie bonne nouvelle que le 4K selon Sony ne se résume pas à une F65 certes au top mais hors d’atteinte pour de nombreuses productions ( il semble qu’un seul long métrage soit tourné avec depuis sa sortie en france) Je trouve ces produits très alléchants, vous pourrez les découvrir au SATIS sur le stand de Sony.

Voilà je n’ai pas pu consulter les fichez techniques et les prix sont pour le moment non fixés mais tout ceci est très séduisant, le travail effectué sur l’ergonomie semble aller dans le bon sens, la crosse d’épaule, la rosette et le support des tiges intégrés à la caméra c’est vraiment alléchant. Sur la photo ci dessous, on peut voir qu’on retrouve avec le fabuleux Zoom Fujinon 19/90 et sa poignée électrique une prise en main dont nous sommes nombreux à rêver. The “betacam” S35 4K est née ! Une ergonomie qui fait le succès d’une fameuse caméra made in germany …

IBC pre and post back the Photokina camera by Sony

Just a few days after a fairly average closing share IBC or the announcement of the RED EPIC M “Monochrome” Blackmagic and who did 4k all over the living room, Canon announced the C100 C300 little sister which I will in more detail later.

C’est au tour des constructeurs Photo de jouer au petit jeu de celui qui annonce au meilleur moment le meilleur produit. Ces annonces tombent à pic et montre la réactivité de l’industrie japonais après la catastrophe de Fukushima sans oublier les inondations en Thaïlande l’an dernier.

Côté caméra on le sait on a des nouveaux produits qui arrivent comme la NEX-EA50EH dont j’ai parlé il y a quelques jours, les PMW-200 et 150 en XDcam EX. Ces produits sont intéressants notamment avec l’arrivée du pilotage wifi et du nouveau capteur sans oublier les 4 pistes audio. Je passerais aussi sur la FS-700 car j’en ai pas mal parlé pendant mon show en direct de Off-Courts que vous pouvez revoir ici :

Mais du côté Photo et Photocam c’est l’arrivée de L’Alpha 99 qui me semble la plus intéressante. Sony semble changer son fusil d’épaule et miser sur le futur puisque les bases de l’Alpha 77 sont repris autour d’un grand capteur et avec l’arrivée d’un système audio pro, permettant le branchement de prises XLR pour le son. Il est capable d’enregistrer du 1080p en vidéo aux cadences de 24/25/30/50/60 comme le A77 donc il s’inspire.

J’espere que je pourrais bientot jouer avec pour vous faire un petit retour sur ce boitier qui est assez excitant, je rappelle qu’il n’est pas doté de visée réflex et que son système d’AF emprunté à l’Alpha 77 est assez étonnant en vidéo. Reste à savoir s’ils ont ou pas refait la meme bétise que sur le A77 qui a une petite perte de focale entre la photo et la vidéo ?!

L’autre surprenante nouveauté c’est le RX1, un truc de dingo puisque Sony sort un “compact” a capteur full frame 24×36 et à objectif non interchangeable. Il est doté d’un objectif signé Carl Zeiss d’une focale de 35mm à ouverture de f:2,0. Joli jouet mais il va me manquer un viseur pour y trouver mon compte quoi qu’il en existe un optique qui se monte sur la griffe porte accessoires. Le capteur est à priori le meme sur les 2 boxes.

Il y a aussi des produits plus exotiques come la NEX-VG900 qui serait dans l’esprit de la NEX-VG20 (une VG30 est annoncée aussi) mais avec un capteur full frame ! Sans oublier des optique monture E et un NEX-6 … après un démarage assez timide voir tardif dans le secteur il semblerait que SONY soit rentré à fond dans le petit monde de l’hybride !



Sony, NXCAM NEX-EA50 a product interesting concept.

I received a few days ago a press release from Sony and I admit that I was intrigued. NEX-EA50 is part of the family NXCAM, so this is a AVC-HD camera with a large sensor from the family NEX, as mirrorless cameras NEX5n NEX7 etc.. La nouveauté intéressante c’est que c’est une caméra d’épaule, elle est certes ultra light mais nombreux sont ceux qui se plaignent du “form factor” des caméras actuelles. J’ai noté aussi un nouveau support d’enregistrement sécurisé en mode RAID 1 sur de nouvelles cartes “memorystick XC-HG duo” le principe est sympa mais sortir un nouveau format de cartes est un peu étrange comme démarche surtout au moment ou les cartes SD et CF sont devenues incontournables.

Le prix n’est pas encore communiqué. J’espère pouvoir vous en raconter plus bientôt.


voici la vidéo de présentation :

Les specifications techniques :

  • Full HD recording

    Full 1920 x 1080 AVCHD 2.0 Recording with 60/50Hz selection (50p/25p/50i or 60p/30p/24p/60i)
    NOTE: * *60p/i means 59.94p/i. 30p and 24p mean 29.97p and 23.98p, respectively.

  • Large Format Sensor for creative expression

    Large Format APS-C HD CMOS Sensor for high quality, creative moving images and shallow depth of field control. The large format Exmor APS HD CMOS sensor gives the user creative freedom when shooting Full HD movies and high-quality still photos.

  • Unique design for versatile shooting options

    The unique design of the NEX-EA50EH further adds to the camcorder’s versatility. When the shoulder pad is extended, the camcorder can be balanced on the shoulder giving added stability for longer shooting times. Alternatively, when the shoulder pad is returned to its original position, the camcorder becomes compact enough to use in various handheld styles, allowing users to capture a wide variety of shots.

  • Interchangeable E-mount lens System

    The NEX-EA50EH incorporates the Sony E-mount interchangeable lens system, which enables auto focus, auto exposure and stabilisation during shooting. With its short flange back distance, it is possible to attach both established A-mount lenses via the LA-EA2 lens mount adapter, and an unrivalled choice of other brands lenses using third-party adapters.

  • Newly developed powered zoom lens

    The NEX-EA50EH camcorder comes with the newly developed Power Zoom E-mount lens E PZ 18-200mm F3.5-6.3 OSS SELP18200. It features auto focus, continuous variable iris and Optical Steady Shot image stabilisation with Active Mode, making it ideal for shooting moving images. It is electronically controlled by both the zoom rocker lever on the camcorder grip and top handle. Film-makers can achieve a constant zoom speed and smooth, slow zoom, both of which can be difficult to accomplish with manual zoom lenses. In addition, using fixed focal length lenses users can simulate a zoom effect using the smart digital zoom function, ensuring fast-paced shots are never missed.

  • Part of the professional NXCAM camcorder range

    The NEX-EA50EH features a range of professional functions usually associated with NXCAM camcorders, such as 2-channel XLR audio, Linear PCM audio, time code, user bit and built-in GPS.

  • 16.1 megapixel still image capture

    By capturing 16.1 megapixel still pictures with RAW format support, the camcorder offers higher picture quality and rich post-processing capabilities. In addition, the NEX-EA50EH has a built-in mechanical shutter to eliminate shutter-induced blur during long exposures while capturing still pictures.

  • A variety of recording media options

    Sony’s HXR-FMU128 flash memory unit can dock directly to the camcorder for recording an immediate backup. The camcorder is compatible with the new Mirroring Memory Stick (MS-PX64/32/16) which is the world’s first memory card featuring a “Mirroring” function. This enables the card to deliver high reliability and data security through a dual recording (mirroring) function. This new professional memory card will be available in 3 different capacities: 16GB; 32GB and 64GB.

SONY FS 700 it's not April Fool's jokes

I had announced a few days ago a rumor on the net reported a variation of the FS100 with output 4K …
The FS 700 would not be a rumor but a real product if we believe the press release from Sony

With a sensor 11,6 MP size of S35, she would be able to record images at a frequency quite nice in HD 1080 jusqu’à 240 fps ! and climbing to 960 i / s in a lower resolution and a limited period of time …

Unlike her sister she would have a ND filter rotary 1/4 (2 Stop), 1/16 (4 Stop), and 1/64 (6 Stop) (whew !)

The mount is the same as the FS100 that is the mount cameras NEX said mounting “E”

As the FS 100 it can do 1080p50 or 60 a new medium called HXR FMU 128 go SSD

Against by this famous 4K output would be on the 3G HDSDI output and not on the internal recorder, this feature will be activated later by a software upgrade and registration will be on a recorder SONY … we know for now. You can download the brochure here

Is this a way of announcing that the F3 would also declination 4K ? Whether, at what price ?

Always it is that NAB 2012 looks again very crispy. We look forward to hear from Panasonic, we gotta get the presage of a new 4K camera also includes the famous AVC Ultra unveiled ago 2 years … An evolution of the AF101 you it will be announced at NAB 2012 ?


NAB Rumor : Sony FS 700 4K S35 for $ 8K ??? info ou intox ?

Clearly, as had been initiated last year the 4K should be on everyone's lips at NAB. Less than 2 weeks of the show opens a pretty crazy rumor spread on the web. A New Camera “Low Cost” Sony E-Mount (that of the NEX and FS100) come out of the wood, with a recorder SDI output …
I can not believe that Sony has only just got out of his F65 ultra premium announced such a product (we are soon on April 1 it feels a little pre-fish) or it is the beginning of a revolution on political end of this brand …
Live from NYC … Emmanuel was Pampuri, you to the studios, Cognac with you Jay …

Sony Alpha 77, the troublemaker of the festival ?

I had spoken, Sony lent me and a model of pre-series … pre-production so that it is rated "serial number : 0000"In the box.
Coming to chain 3 Weeks of diverse and varied shooting was a bit dead this weekend and the weather was not in my favor, So sorry but I would not necessarily illustrate my point by images whether still or moving.

Little reminder of the most significant information that the manufacturer gave when he announced last month.
An APS-C 24 MP
An OLED Viewfinder
AF performance on a 19 Colima performance with the system of semi-transparant mirror allows the AF tracking in video
An AVCHD Video "2" 1080p50
all in a box with joint anti-runoff.

The first contact I was immediately captivated by the quality of materials, it was not the case of Alpha 55 that was really plastoc. The quality of the grip is amazing, the fingers of my big paw were immediately felt comfortable on it. The hand wraps the handle well and really a good feeling it's almost like the pro.
The quality of the electronic viewfinder is undeniable, the sharpness is good, also refresh, the contrast ratio is almost disturbing. It's a bit too contrast for my taste but it was still a new standard in the field. After there is sometimes too much information or not enough, a function to customize the inserts in the target would be welcome.

The few tests conducted in camera (Jpeg lack of direct dérawtiseur currently) are a little too "processed" for me, one senses a fast smoothing effect and sheep that breaks the accuracy of evil 24MP. So I will refrain from any conclusion as it is a test performed on a model of pre-series told reporters. Nevertheless you can commend the responsiveness of the autofocus, the infernal cadence 12 i / s is beautiful is real and it may really want to make amateur sports photos.

With such a grip and such quality-of-sight, I was naturally tempted to do first of the video … and here I thought, est ça and a cap on a Franchi, If Sony or another optician us out a power zoom can be considered definitely to our camcorders in the cellar ! Ergonomics is really interesting one eye in the viewfinder, hand integral with the housing and the other on the zoom ring and shoo !
The rotating screen is stunning, too I took a real pleasure to position it on top of the box in the manner of a medium format,

Another downside that mempêche to deliver all of my impressions of the PhotoCam, it comes with a view … this 18/55 which was mounted on the test model is really not up to the housing, I look forward to test again with the new 16/50 f:2,8 to be released at the same time.

As for video quality is to go, I do not have much to say because I have not done a very thorough test but the 1080p50 mode is very good.
However, small flats : If we can choose how 50i 50p and 25p there is no 24p and the compression ratio can not be resolved independently of the frame rate and mode 28MB / s is reserved only 1080p50 mode. I think it's related to the AVCHD standard that must impose limits, but it is a shame.

Another detail that worries me a little more : I think when you switch to video mode, it is not the entire surface of the sensor is used which causes a slight narrowing of the focus is not huge but enough to indicate the. I do not see that changing the format 3:2 to 16:9 can pose as a problem in using the width of the sensor. This effect of crop is a bit annoying.

Another aberration that I hope will be corrected in the final (and unless I have not found the appropriate function with no manual) a priori we can not have autofocus when video is in manual mode ?! A message appears on the screen inviting them to switch the switch AF / MF on the lens to the position "Manual"
I have not found anything yet about a possible sound setting either and there is still no headphone.
Last detail on ergonomics software, even if it is less obvious than on other devices previously tested this brand should allow people who know a little technique to disable the menus and other colorful images of colorful Panthers that serve as examples in the menus. Stop taking us for fools, it is to try to help beginners but let us at least be able to disable these useless stuff. I'll still take me to force the ears to criticize but I think it is sincere and not be the only gene that. Example, for the moment when you select the mode "video" on the main barrel we get a menu that gives us the choice of P / A / S / M … when you select one of these modes we arrive at a picture that explains what's the point before you can use. It is often valuable seconds are lost when you need to move quickly and capture a snapshot. Also I have not found any other solution but to re move the said wheel to change the mode ? It may be that I did not find.
To finish on a positive note, I welcome the fact that Sony has chosen to use its lithium M that are already present in the equipment of many videographers and have become a true standard.
In conclusion the Alpha 77 is really born, except my little annoyances of demanding professional is a box that changes the, a good mix between a Canon 7D and a Panasonic GH2, In a word it is a success ahead for Sony.
I look forward to testing the NEX7 that looks really exciting as, with the same sensor and viewfinder of the same, it may be that it is he the real competitor of my favorite GH2.

Stay tuned for images, as soon as possible with a real objective good weather and a bit of time to me it should be possible.

Small note following the release of the plugin released last week by Panasonic AVCHD which can work natively in FCP7, It fully supports the 1080p50 from this case.