Atomos: Atomos introduces Ninja V – a stealthy 5.2″ 4Kp60 HDR daylight- viewable 1000nit monitor/recorder

https://s3.amazonaws.com/atomos-web-uploads/press/AtomosNinjaVPressRelease.pdf

The latest incarnation of the famous Atomos Ninja line is here. Seven years after the world’s most popular portable Apple ProRes recorders burst onto the scene, Atomos is delighted to introduce Ninja V – an all new compact 5.2″ 1000nit high bright HDR monitor/recorder with unrivalled advanced features. It has a sleek modern design and weighs just over 11oz…”

atomos_ninja_v_panasonic_lumix_gh5s_01_1024px_60pc
Atomos Ninja V 5-inch monitor/recorder

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Great News! Director/Cinematographer Mike Figgis Has Redesigned The Legendary, Innovative Fig Rig Video Camera Rig

Just as I was wondering if we would ever see the likes again of movie director Mike Figgis’ innovative, legendary Fig Rig, welcome news arrives of the Fig Rig’s redesign for more contemporary video camcorders and hybrid cameras courtesy of The Guardian newspaper’s culture webchat with the creator of the Fig Rig himself, Mr Mike Figgis

First version of the Mike Figgis-designed Fig Rig, made for the HD and SD camcorders of the pre-4K DSLR and DSLM digital moviemaking era.

Here is the relevant extract from the webchat:

artmod asks: Do you still use your Fig Rig?

Mike Figgis, 19 June 2017 1:17pm: Good question. I use it all the time. And have spent the last two months redesigning and updating it, based on using a 15-mm bar system, combining it with bits of equipment acquired cheaply from the internet. And it has been a revelation.

I’m using it with a Canon C300 and the new Nikon D5, adding follow focus and a 7-inch monitor and it is working beautifully.
I’m talking to Manfrotto about relaunching it and if not them, would love to find a small British company and stay local.

Great news indeed and I hope that Mr Figgis finds a good new manufacturing and marketing partner for Fig Rig version 3 – Manfrotto made and marketed Fig Rig in its first and second, Sympla, versions – or hashes out a great deal with Manfrotto ensuring that Fig Rig 3 will be affordably priced, well distributed and better marketed than its predecessors.

Although I have not had the pleasure of seeing and trying out a Fig Rig, and one was not available for purchase when I was searching, the short movie above showing Mr Figgis using a Fig Rig version 1 reveals its uniqueness as a camera-supporting solution, one based on the human body and natural human movement in a way foreign to better-known movie camera stabilization solutions such as shoulder-mounts, gimbals, Steadicam and the like.

Mr Figgis shared that he has been using Canon’s Cinema EOS C300 camcorder and Nikon’s D5 DSLR lately and so has based his Fig Rig redesign around them.

It is likely that Fig Rig 3 will function equally well with other mid-sized camcorders and cinema cameras such as Panasonic’s AU-EVA1 Super 35 Handheld Cinema Camera and smaller DSLM cameras such as Panasonic’s Lumix DC-GH5 Super 16 hybrid with or without camera cages, battery grips, audio or video recorders and the like.

If so, colour me very excited indeed.

Links:

Image Credits:

Header image concept and hack by Carmel D. Morris.

Creative Planet Network: A Cinematic Solution at a Sensible Price: How JVC’s GY-LS300 Expands Production Capabilities

http://www.creativeplanetnetwork.com/news/shoot/cinematic-solution-sensible-price-how-jvc-s-gy-ls300-expands-production-capabilities/611665

The GY-LS300 comes with a Micro Four Thirds (MFT) universal lens mount, and adapters are available for PL, EF, Nikon, C and other lenses….

Besides resolution, one figure that stands out about the GY-LS300 is its suggested price of $4,395—and the street price, which is about $1,000 less.

JVC GY-LS300 4K camcorder with Veydra Mini Prime Micro Four Thirds geared cinema lenses

I really appreciate the flexibility the GY-LS300 gives you to adopt any kind of lens,” he says. “I like both Canon and [Duclos] Veydra lenses, and the JVC mounting system handled them very well.” … Sanjeev Chatterjee

Can he recommend any improvements? “Sure. The camera would benefit from an additional threaded tie-down,” Herrlin says. “Also, it comes with a small viewfinder, probably to save cost. I’d like a higher resolution one, and a viewscreen that can stand up to bright outdoor sun.” … Steve Herrlin

 

JVCKENWOOD Updates the Incredible JVC GY-LS300 4K Camcorder Firmware to Version 4.0, Adds 4K 4:2:2 Recording and 4K60p Output

One of the most underestimated, sadly rarely heard of, Super 35 4K camcorders out there is the JVC GY-LS300 by JVCKENWOOD USA Corporation’s JVC Professional Video division. I have never had the pleasure of trying out the GY-LS300 or even seeing one from a distance, so must rely on the professional insights of documentary cinematographer Rick Young who has expressed nothing but praise for the camera. 

The JVC GY-LS300 has intrigued me from the moment I first read about it, at a time when I was wondering whether I should stick with hybrid stills/video cameras or look into the emerging world of 4K camcorders.

With an independent self-funded photographer and moviemaker budget, and the need to adequately cater for both creative fields, I opted for hybrid cameras but sometimes wonder if I have made the right decision on the video side of things.

Should I have bitten the bullet on the JVC GY-LS300 4K camcorder and made do with a smaller selection of cameras and lenses for stills photography? Given the ongoing problems we have in this country with our lousy online upload speeds, some of the worst in the world, I made the best choice available at the time and opted to start off Untitled: Stories of Creativity, Innovation, Success by focussing more on documentary photography than short documentary movies.

If things had been different for Australian Internet access I would gladly have chosen to focus more on video than stills and I most likely would have selected the JVC GY-LS300 as my prime video camera with M43 hybrids as my B and C cameras. If full-length documentary features enter the picture sometime soon, then I may well do exactly that.

Before JVC announced its version 4.0 firmware update, the JVC GY-LS300 possessed a specifications list to impress:

  • 4K Ultra High Definition video.
  • Super 35 4K CMOS sensor.
  • Micro Four Thirds lens mount.
  • Variable Scan Mapping for native angle of view with a wide range of lenses including M43, Super 16 and Super 35.
  • Lens mount adapters for EF and PL lenses.
  • Built-in 3-position ND filters – 1/4, 1/16 and 1/64.
  • HD-SDI (3G) and HDMI outputs with 4K only via HDMI, feeding and triggering external recorders.
  • DCI Cinema 4K 24p and DCI Cinema 2K 24p recording.
  • Full HD 4:2:2 recording at 50Mbps.
  • JVC-Log aka J-Log for 800% dynamic range.
  • 120fps HD slow motion recording.
  • 2-channel XLR phantom-powered audio inputs and included shotgun microphone.
  • Hot-swappable dual SDVH/SDXC card slots for dual, backup or continuous recording.
  • Handle unit for XLR input and microphone.
  • And more.

The one widely-reported downside to the JVC GY-LS300? Its viewfinder. Given current electronic viewfinder technology, JVC could easily add a far better EVF to the JVC GY-LS300 and really knock one out of the park.

Meanwhile Paul Leeming of Leeming LUT One and Visceral Psyche Films says this about footage from the JVC GY-LS300:

I was impressed with the footage I was given when I built my LUT for it. J-Log is log done right, because it uses the full 8-bit space to assign values, meaning very little banding compared to truncated log profiles such as 8-bit V-Log for Panasonic and S-Log3 on the Sony cameras in particular.

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Image Credits:

Quick and dirty image graphic concept by Carmel D. Morris.