31 may. 2008
29 may. 2008
Well, looks like not even Punk Rawk music can compete with the onslaught of music simulation videogames. Proof of this is Xbox.com's decision to make an... alliance with Rock Band to provide what they call "some gaming fun along with the music". This means that at each tour date, one will be able to leave the mosh pit for a second, and head for the nearest Rock Band gaming station... This means, the true end of anarchy for Punk Rawk....
Lesson 3.3 is getting near, be ready!
Vans Warped Tour
US$6,850 mas IVA
Tiempo de entrega usualmente 1 día hábil a partir de la recepción de tu deposito pregunta disponibilidad pues la demanda es muy alta y manda un email firstname.lastname@example.org Tel 5343 5650 Cel 044 5532018741
La nueva HVR-Z7 usa el sistema 3 ClearVid CMOS Sensor™ de tipo 1/3” (0,85 cm) de Sony, mejorado con la tecnología Exmor™. Las dos nuevas tecnologías trabajan juntas para que la camára pueda desempeñarse significativamente mejor en entornos de baja iluminación, con sensibilidad de 1,5 lux.*"
Para mayor flexibilidad, los usuarios pueden poner lentes diferentes, con la ventaja de que ambos modelos tienen un mecanismo universal estándar de montaje en bayoneta de 1/3” (0,85 cm) para cambiar lentes más fácilmente.
Aprovechando un adaptador especial, los usuarios pueden conectar también una serie de lentes diseñados para cámaras fotográficas SLR digitales de Sony para el consumidor.
Los camcorders HVR-Z7N y HVR-S270N pueden cambiar entre grabación 1080p, 1080i en formato HDV, DVCAM™ y DV. Ambos pueden reducir en frecuencias el material HD a SD, y producir las señales de video tanto a través de su interfaz i.LINK como a través de otros conectores de salida SD.
El modelo HVR-Z7N tiene una salida HDMI, en tanto que el HVR-S270N se ofrece con conectividad HD-SDI o SD-SDI, y admite código de tiempo y audio encajados.
En existencia $US$6,850 mas IVA Dólares mas IVA
Sony gets serious about HDV with two fine cameras based on the same core components"
The HVR-Z7 and HVR-S270 camcorders take Sony’s commitment to the HDV format to the next level. Both are based on the same core technology: three 1/3” ClearVid CMOS sensors viewing the world behind interchangeable lenses. The cameras share the same EVF and LCD panels, the same microphones, the same rich feature sets (including CF card recording, and both interlaced and true progressive HDV modes), and the same fundamental performance, but they’re packaged very differently. The Z7 is a svelte Handycam, while the S270 is a no-excuses shoulder-mount camcorder, bristling with dedicated buttons and switches, full-sized BNC connectors, large-cassette capability, and four channels of audio recording—a first for HDV.
The US$6,850 (list) HVR-Z7 weighs about 5.5 pounds (2.5 kg) in shooting configuration, a bit heavier than an HVR-V1 or HVR-Z1 but lighter than an HVX200 or PMW-EX1. It’s a compact and well-balanced package.
The $10,500 (list) HVR-S270 weighs in at around 15 pounds (6.8 kg)—no Handycam this, but a solid, hefty unit that feels instantly familiar to shooters used to DSR-300/400/500-series units or other, similar shoulder-mount camcorders.
28 may. 2008
Automates Secure Offloading and Backup of SxS Cards
Carmel, IN – Imagine Products, Inc. announced today the release and general availability of ShotPut EXpress™ a new, automated offload application for Sony EX SxS cards. Now you can securely backup Sony XDCamHD EX based video projects while streamlining your workflow from acquisition to archive. Available for Mac or Windows (Intel-Mac, Windows XP and Vista computers).
ShotPut EXpress™ features Single card (manual) and Multiple card (auto) modes. Simply insert the SxS card into a PowerBook or Notebook’s ExpressCard slot and ShotPut EXpress™ makes secure, verified copies of the SxS card’s video contents (the BPAV folder) in up to three (3) locations.
ShotPut EXpress™ makes a printable activities report log of all the file transfer activities. This text file shows all the details including names of cards and files, the copy destination names, file sizes, duration of each transfer and aggregate transfer time, date, etc. A great way to document and organize your project and billable time.
Why Use ShotPut EXpress?
Fast Copying: Perform copies at top speed without the overhead of Finder or Explorer.
Automatic or Manual Copies: Manually select one or more drives to copy. Or use the auto offload mode to sequentially copy SxS cards upon insertion.
Easy Folder Naming: Save time and improve consistency and organization by auto-naming the copy folders.
Improve Workflow: Make up to 3 simultaneous SxS card copies at the same time.
Reformat Cards: After offloading is finished, automatically Erase the BPAV folder contents and Rename the card so it’s ready to return to the camera.
Security: Verify byte-to-byte comparisons of your media copies to ensure integrity of the files.
Verification Report: Create a record of file transfer activity, how the copies were named, time, date, etc. Save complete details for project organization and billable time.
Print Offload Log: Offload results are presented in a text file, printable with the click of a button.
Session Error Checking: Prevents overwriting of existing folders and duplicate offloading of the same card.
Progress Bar: Displays overall percent completion and file-by-file progress during the copy process.
Copy Cards or Disks: The BPAV contents of any mountable volume (drive) can be copied.
ShotPut EXpress is a single user, download application. Help and Users Guide in PDF format available. When you purchase, the serial number provided may be used with either the Mac or Win versions of the software. Available now.
Imagine Products, Inc. develops high value, innovative digital logging tools, video analysis solutions, archiving systems and asset management software for video professionals. Imagine Products' corporate headquarters is located at 1052 Summit Drive, Carmel, Indiana 46032, USA. The company can be reached by phone at (317)-843-0706, by fax at (317)-843-0807, or on the web at http://www.ImagineProducts.com/
ShotPut EXpress is a trademark of Imagine Products, Inc. All other trademarks are property of their respective owners.
27 may. 2008
Final Cut Pro
26 may. 2008
Canon Selphy CP770
25 may. 2008
I've seen many enclosures for the Xbox 360: Hentai enclosures, crocodile skin enclosures, heart enclosures, and once, a multicolored enclosure (this one was created by accident by a friend of mine, who thought it was intelligent to do an arts project with oil paints on top of his XB360)
But, for some reason, no one had ever made a Glow-in-the-dark enclosure. Probably because glow in the dark things are kind of (admit it) spooky. Imagine entering your living room and seeing your Xbox 360 glowing with a ghastly green light. Sounds like extracted from Poltergeist, doesn't it?
But then again, if you like Fatal Frame, then this might suit your needs....
Stay tuned for Lesson 3.2 from our FCP course.
Glow In The Dark enclosure
24 may. 2008
This one is a strange lesson, because I can't really tell how you should edit your videos. I can only pass on some old editing wisdoms, and say what buttons do what things. But editing works two ways:
- You follow your instinct
- You obey the producer's orders
It is also an extensive lesson we'll have to divide into 4 parts. Today we'll concentrate on basic editing. So, let's get started...
First of all, ancient editing wisdoms:
- Long clips are boooooooriiiiing! Keep it short, 10 seconds per clip, at it's most...
- Do not overuse effects. It looks cheesy, and it can force your computer into a crash, unless you render
- Transitions ARE an effect
- Sound is important. Try to use sound transitions whenever sound levels jump a lot between clips
- Don't listen to music while editing... Trust me...
- Save your project, for God's sake, Save every 5 minutes!!! You can't trust on the autosave feature too much...
- Don't edit more time than you can spend having fun. You'll get bored, and eventually, you will do neither. Try to balance it..
Now, off to the EditCave (cheesy 70´s superhero music):
If you've payed attention, you now know each of the windows in FCP (Browser, Canvas, Viewer, Timeline). You also know how to upload footage (Log and Capture). So now, all you've got to do is, move your mouse button over to the Browser. That's it. Double-click the desired clip to make it appear on the Viewer. Now that "Kat's_Birthday_Party_001.1" is on the viewer, proceed to select an in and an out point. (Remember Lesson 1's shortcuts? I= set in-point, O = set out-point) Now, once you've set the in-point at the moment Kat's face is shoved deep into the cake by good old Tommy Benson, and the out point when Kat throws cake at Tommy's face, click and drag the Viewer's screen. You can either drag it to the Timeline, and drop it there, or to the Canvas, were a small multicolored menu will appear, displaying different options: Insert, Superimpose, etc. Choose the one you prefer. If your clip appeared exactly as you wanted on the Timeline, congratulations, you've succesfully edited a clip!!!
Now, that's adrenaline, ain't it?
Keep tuned for part 2 of lesson 3!
Final Cut Pro
23 may. 2008
"Lo que vamos a ver con la publicidad en línea y con la publicidad en videos es lo que se ha visto con la publicidad en medios escritos y televisión, que es una mejora progresiva", explicó el presidente ejecutivo de Publicis, Maurice Levy, en un foro organizado por Reuters.
Redacción / El Economista.com.mx
Nueva York.- Toda conversación sobre los mejores lugares para la publicidad acaba inevitablemente en el video en Internet, mientras las compañías se muestran ansiosas de llegar a una audiencia enorme que ahora ve sus programas favoritos de televisión o videos caseros en la red.
¿Por qué entonces las compañías estadounidenses del sector sólo gastaron 471 millones de dólares en publicidad en videos en internet el año pasado, según la consultora Forrester, lo que supone apenas el 2.6% de todo el marketing interactivo?
Los ejecutivos que acudieron esta semana a un foro de Reuters sobre tecnología, medios y telecomunicaciones hablan de la inexperiencia del personal creativo y de ventas, así como del temor a lo desconocido, entre los obstáculos.
Sin embargo, se mostraron de acuerdo en que es cuestión de tiempo el que se produzca un despegue.
“Lo que vamos a ver con la publicidad en línea y con la publicidad en videos es lo que se ha visto con la publicidad en medios escritos y televisión, que es una mejora progresiva”, dijo el presidente ejecutivo de Publicis, Maurice Levy.
En una industria que tiene que atraer a los clientes con anuncios de televisión de 30 y 60 segundos, crear anuncios efectivos en internet ha sido difícil hasta ahora.
“Las cosas sólo crecerán con la velocidad que dicten los anunciantes de televisión y, sinceramente, estos son tipos que quieren moverse con mucha cautela porque históricamente han tenido todas las cartas en el mundo publicitario”, explicó el analista de Forrester James McQuivey.
Vender publicidad en videos es otra cuestión
“No creo que los publicistas tengan claro verdaderamente cómo venderlo todavía o qué formatos funcionan mejor con los consumidores, y mucha de la tecnología para anuncios (...) sigue siendo muy inmadura”, dijo Saul Klein, socio de la principal compañía de capital riesgo en Internet de Europa, Index Ventures.
“Ni siquiera los principales actores, Google con DoubleClick, etcétera, tienen una respuesta clara sobre cómo va a funcionar el video”, agregó.
Aún así, Forrester espera que el gasto en publicidad en video online casi se duplique este año, a 989 millones de dólares, y luego de nuevo a 1,860 millones de dólares en el 2009.
Esto supone una tasa anual de crecimiento del 72% del 2007 al 2012, mucho más que otros tipos de publicidad interactiva.
22 may. 2008
But now, we know a lot more. We know for starters, it will be released by Fall 2008. We also know the official name, Guitar Hero: World Tour (snazzy!!)
The game will include songs by bands like Van Halen, The Eagles and Sublime. The game will offer significantly more localized downloadable music than ever before on all of the next-generation consoles. Budding rock stars will also be given creative license to fully customize everything from their characters' appearance and instruments to their band's logo and album covers.
There's also an 8 player "Battle of The Bands" for online and offline gaming
Citing literally the press release: In addition to a newly designed more responsive guitar controller and microphone, Guitar Hero World Tour will deliver the most realistic drum experience ever in a video game with an authentic electronic drum kit. Featuring three drum pads, two raised cymbals and a bass kick pedal, the drum controller combines larger and quieter, velocity-sensitive drum heads with soft rubber construction to deliver authentic bounce back and is easy to set up, move, break down and store.
Perhaps the most "promising" feature of GH:WT is it's Music Studio, with which a player can create a digital composition that can be played and shared with other players online with GHTunes.
The game is being developed by Neversoft Entertainment for Xbox 360 and Ps3, Vicarious Visions for Wii, and Budcat for PS2.
This looks like the cue for GH fans to start saving...
Guitar Hero: World Tour
21 may. 2008
More info at : IRIS
Nanobot Playing Soccer
20 may. 2008
The Nintendo Wii, while having bromine up to 12.5 percent by weight in its internal housing, was praised for having no beryllium, which can cause lung disease. Check out the Greenpeace page for more information. (Via Joystiq)
19 may. 2008
- The Preview Area: It includes your standard transport controls, as well as timecode fields, and marking controls. NOTE: Device control must be enabled for transport controls to appear. Left.
- Tabs: Logging, Clip Settings and Capture Settings tabs. Top right area.
- Log and Capture buttons: You use one of these buttons when you are ready to log a clip or capture media. Lower Left area
- Logging: This tab adds descriptive information to each clip you log, such as reel name, In and Out points, scene/take number, markers, etc.
- Clip Settings: With this tab you can choose which video and audio tracks you capture from tape. You can capture video only, or audio only, or both video and audio, specify which channels you want to capture or adjust video levels for each clips with the Waveform Monitor or Vectorscpe.
- Capture Settings: This tab is used to select scratch disks for captures
- Log Clip: Logs a single clip with the current log info and clip settings.
- Capture Clip: Logs and Captures a single clip with current log info, clip settings and capture settings.
- Capture Now: Captures the current video and audio and input to a media file on disk until you press the escape key. No In or Out points here, thank you! You can use this button to capture a whole tape in a single file.
- Capture Batch: Captures the selected clips from the browser or clips from the logging bin.
- Apple + Z = Undo Tip: you can set how many
- Apple + 4 = Show/Hide browser
- Apple + F = Find
- Apple + 8 = Show Log and Capture
- Option + /= Play every frame
Final Cut Pro
18 may. 2008
You see, it ain't a video showing a shark biting off a wannabe Madonna's leg, nor The Landlord´s sequel. Nope. Actually, it's robots. Tiny robots in fact. Made with R/C helicopters. Take a look:
Admit it: Swashbot1's the cutest robot since R2-D2, and Swashbot2 kinda reminds us of those evil SpiderBots in Minority Report. And Swashbot3 reminds us of that crazy vacation on the sandy beaches of Cancun...
The interesting things is the guy who made the robots. He calls himself Crabfu on the cyber world, and by what I've seen in his YouTube profile, he's not only interested in making cute R/C robots, but also steampunkis steamp-powered robots, and funny animations.
Take a look at his page
Also, remember to stop by tomorrow for Lesson 2 of our Final Cut Pro 101 course...
Until Next Time!!!!
17 may. 2008
- The Browser: where source media files are listed, including video files, audio files, effects, pictures, and transitions
- The Viewer: This is where you preview and trim files, including effects, transitions, and pictures
- The Timeline: your map on your editing adventure: this is where you arrange your diverse files into what's to become your final product.
- The Canvas: this is where you see your edited production from the Timeline. In short terms: On the Viewer, you watch what's happening on the Browser, in the Canvas you're watching what's happening on the Timeline.
Both Viewer and Canvas windows have a jogging interface, which is useful when you want to scan frame by frame your files, and a shuttle interface, your aid when wanting to scan a film on different speeds
- J: Play any file at full speed backwards
- K: Pause (you can also use the Space Bar, which is Play/Pause on many Apple apps)
- L: Play any file at full speed forwards
- I: Set an in-point on a clip or sequence
- O: Set an out-point on a clip or sequence
That's all for today. Hope you liked today's lesson... See ya soon enough !!!
16 may. 2008
Video and Television postproduction editing in Mexico
15 may. 2008
Final Cut Pro
Video and Television postproduction editing in Mexico
14 may. 2008
Now, breaking down the numbers, and assuming the Xbox 360 hit 10 million the midnight of May 14 2008, exactly 903 days after it's November 2005 launch, one would notice that:
• At a population of 301.4million, that's approximately 3.32% of all people in the US.
• Using the 903 metric, the Xbox 360 has therefore sold 11,074 per day, 461 per hour and 7.7 units per minute.
Microsoft also seized the opportunity to boast there's 12 million global members of Xbox Live (myself included) and 19 million Xbox 360 game consoles sold worldwide, which they claimed was more than any other current-generation console. Yet, GameDaily called the MS guys and reminded them the Wii has sold 25 million units worldwide, to which Microsoft said: "we apologize for any confusion. Xbox 360 has the largest global install base of any current gen, high definition gaming console" with added emphasis (take that, Mario!!)
CANON'S TRENDSETTING TRIO OF NEW DIGITAL ELPH SUPERMODELS INSPIRE FRESH EXPRESSIONS OF INDIVIDUAL STYLE, VISION & TRUE IMAGING INNOVATION
13 may. 2008
I was doing my daily Internet surf, this time searching for an application that could help me upload my bunch of Simpsons episodes to my 16gb iPod Touch. After trying in Yahoo! Answers in both spanish and english versions, and under 3 different tags, Apple, and downloads.com, I came upon Videora.com. This surprised in a pleasant sort of way. I used to use Videora as a substitute for my BitTorrent application. That was 4 years ago, back in 2004. But it's 2008, and Videora isn't only a nice BitTorrent RSS Reader application anymore, but it's also the name given to it's series of video converters for multiple platforms (including Xbox 360, PS3, PSP, Wii, and Apple TV) and Media Center managers.
Really nice story, but you're probably asking yourselves: Does it work?
I tested the Videora iPod Touch converter version 3.7. If you try to look beneath the ad-filled (yeah, I forgot to tell you: it's freeware!!) application, you'll find yourself with a user-friendly tool, with 2 options: Normal Mode, and Power Mode.
Normal Mode is the easy mode of the application. In this mode, iPod Touch converter (and all other Videora converters) basically does everything for you. You only have to select how nice you want your video to look and sound and were do you want it to go. Depending on how large and the quality you want your video to have, the converter wil only spend a few minutes, or even seconds, working on converting your video.
Power Mode is made for those of you who like to have as much control over the video conversion as possible. To use it, you must understand technical jargon like AviSynth, 1 Pass, 2 Pass, the meaning of Kbps, MPEG-4, VGA, QVGA and H.264. It even has conversion profiles, if you like to experiment with different conversion settings, without having to reset your favorite conversion mode.
I'd say this is an indispensable application for those of you who like your vids nice and as perfect as possible. Oh, and also, if you own many iPods :D
Until next time!
New Tapeless P2 & AVCHD HD Cameras AG-HMC70 AG-HPX170, a fully solid-state P2 HD handheld camcorder. A full production quality
Panasonic unveiled here at NAB the AG-HPX170, a fully solid-state P2 HD handheld camcorder. A full production quality tool, the solid-state handheld camcorder enables high definition and standard definition recording, the widest zoom lens in its class, and a HD-SDI interface for connection to baseband production and distribution infrastructure, all in a lightweight 4.2-pound body.
Fully solid-state, the two-slot HPX170 is a 1080p capable camcorder that offers the compelling advantages of P2 technology including: no moving parts unlike tape, hard disk drive, or disc-based systems; instant random access to recorded HD or SD content; a faster IT compatible file-based workflow; and the ability to operate in harsh environments with resistance to temperature extremes, shock and vibration.
Entry Level Tapeless HD Panasonic AVCHD
The AG-HMC70 provides entry-level professionals with an easy-to-use, high-quality, solid-state HD recording solution at an affordable price.
As the first shoulder-mount camcorder in Panasonic's professional AVCHD line-up, the HMC70 utilizes the new AVCHD High Profile video codec, which offers similar image quality to HDV 1080i at about half the bandwidth. This second-generation, affordable HD format offers longer recording times and half the storage requirement of older systems.
Compra Venta de Equipo Panasonic
Conversión y transferencia Digital de Formatos de Video en archivos digitales para Celulares, iPOD, CD, DVD, VCD, Multimedia e Internet
Video a DVD iPOD VCD MPEG 2 MPEG 1 MPEG 4 Multimedia Quicktime Multimedia AVI Conversion"
12 may. 2008
Content Creation and Distribution - Fast News and Updates - Demystifying Digital Camera Specifications - great tutorials
Panavision has released a series of technical tutorials covering HD camera systems and related workflow. Each tutorial is available in 480p, 720p and 1080p for downloading."
10 may. 2008
April 3, 2008 - John Galt, Head of Advanced Digital Imaging at Panavision, and Larry Thorpe, National Marketing Manager at Canon Broadcast & Communications Division, came together to help untangle some common misunderstandings in Digital Camera Specifications
Press Release- Panavision’s John Galt and Canon’s Larry Thorpe Make The Case for Meaningful Metrics
FOR IMMEDIATE RELEASE
“DEMYSTIFYING DIGITAL CAMERA SPECIFICATIONS,” SEVEN-PART VIDEO SERIES ILLUMINATING DIGITAL IMAGING TECHNOLOGY, DEBUTS ON PANAVISION WEBSITE
Panavision’s John Galt and Canon’s Larry Thorpe Make The Case for Meaningful Metrics Appropriate for The Age of Digital Movie Making
May 6, 2008 - Woodland Hills, Calif. —“Demystifying Digital Camera Specifications,” a seven-part series focusing on the complex science of image resolution and digital cinema cameras is now available on the Panavision website. The URL is: http://media.panavision.com/ScreeningRoom/Screening_Room/Box_Office.html.
The in-depth symposium is presented by two icons of digital cinema technology: John Galt, Panavision Senior Vice President, Advanced Digital Imaging; and Larry Thorpe, National Marketing Manager, Canon Broadcast & Communication Division.
A master class for motion picture professionals and students, the series is also in the minds of its creators a precursor to a broader, crucial industry-wide discussion: the need for a scientifically valid, objective method of assessing the quality of digital and film images.
Recorded in high-definition video, the symposium was held April 3 before an audience of invited guests in the Panavision Theater, located in the company’s world headquarters in Woodland Hills, Calif.
Imaging resolution science: a closer look
Throughout the series, Galt and Thorpe challenge the simplistic and inaccurate assumption that digital camera resolution is “all about the camera output pixels.” Instead, they help serious motion picture creators to understand the difference between optical sampling from camera imagers (where resolution is totally determined) and the camera digital sampling.
They explore in depth what is meant by Modulation Transfer Function (MTF) and the compounding effect of lens MTF, camera MTF, and the MTF of subsequent production system elements.
Their discussion emphasizes that the relationship between the lens-camera MTF profile and associated residual aliasing – in both the horizontal and vertical domains – constitutes the only rational metric on imaging resolution. These two criteria apply to all 2/3-inch three-imager and to 35mm single-imager digital cameras. Nyquist theory, optical prefiltering and imager sampling lattice are explained in the context of camera design criteria that seek a pragmatic compromise between high MTF and minimum aliasing.
While camera manufacturers generally do not publish camera-specific information regarding lens-camera MTF and aliasing, various test charts are available to enable an objective assessment of both criteria. With these charts, fully demonstrated in the series, content developers can directly compare the performance between any two digital cameras regardless of image format size, number of imagers, or their optical sampling lattice.
Using the MTF metric, Galt and Thorpe conclude, digital movie makers now have better tools to help them gauge precisely what effect each step has on the production of the final image.
In addition to appearing on the Panavision website, the “Demystifying Digital Camera Specifications” series is being made available through various professional, trade and media Internet sites. For film schools, students and instructors, it is being showcased through the University Film and Video Association: http://www.ufva.org, in the news section. The UFVA is an international organization of almost 800 professionals and institutions involved in the production and study of film, video, and other media arts.
Transcripts of the seminars, with embedded slides, will soon be available to accompany the video presentation to facilitate class use or individual study.
“With programs like ‘Demystifying Digital Camera Specifications,’” said Bob Beitcher, President and CEO, “Panavision is trying both to educate our customers as well as raise the level of industry discussion about emerging technologies to focus on the science of what we do. I think that most everyone stands to benefit from a good look-and-listen at this stimulating presentation from two true experts.”
About the company Founded in 1954, Panavision Inc. is a leading designer and manufacturer of high-precision camera systems, comprising of film and digital cameras, lenses and accessories for the motion picture and television industries. Panavision systems are rented through its domestic and international owned and operated facilities and distributor network. Panavision also supplies lighting, grip and crane equipment for use by motion picture and television productions.
Professional Camcorders - High Definition Camcorders and Lenses - Standard Definition Camcorders - Software - High Definition Camcorder - XL H1S - Canon USA Consumer Products
Professional Camcorders - High Definition Camcorders and Lenses - Standard Definition Camcorders - Software - High Definition Camcorder - XL H1S - Canon USA Consumer Products: "XL H1S
High Definition Camcorder"
New Genuine Canon 20x HD Video Zoom Lens III with Professional L Series Fluorite
Three 1/3" Native 16:9 CCD with 1.67M Pixels (1440 x 1080)
Canon DIGIC DV II HD Image Processor
HD-SDI/SD-SDI Out, Genlock In, Timecode In & Out, and Other Terminals
New Genuine Canon 20x HD Video Zoom Lens III with Professional L Series Fluorite
The new Genuine Canon 20x HD Video Zoom Lens III with Professional L Series Fluorite is the latest in a long and distinguished line of industry-leading lenses from Canon. It has been specifically designed for demanding producers of High Definition video who require the ultimate in optical quality. This lens brings features which give the XL H1S user unprecedented control over zoom, focus and iris settings, delivering an even higher level of creative expression.
Canon interchangeable XL Lens Mount
Independent Manual Focus, Zoom and Iris Ring
Responsive manual zoom ring with three settings (Slow, Normal, Fast)
Increased weighting of zoom ring for smoother control
Smooth zoom start and stop
Selectable rotational angle of zoom between Wide and Tele (45°, 60° or 90°)
*Zoom Grip Lever has 16 zoom levels. Maximum and minimum speeds have been expanded. Handle Zoom Lever can be set to any of 3 speeds.
Manual focus capability during zoom (in both Manual Focus and AF Modes)
Selectable response on focus ring (Slow, Normal, Fast)
Focus Limit (On/Off)
Four selectable focus preset speeds
Super Range Optical Image Stabilizer
Two built-in ND Filters (1/32, 1/6)