By now you might have read a handful of reviews for the new Sony 4K cameras that recently started shipping. If you had the opportunity to read Adam Shanker’s review of the PMW-F5 then you have a general idea of what you can expect from it big brother, the Sony PMW-F55.

I had the chance to sit down with seasoned video editor Russ Johnson and discuss his initial reactions from working on his first project in Apple’s Final Cut Pro X. Over the last 14 months there have been many discussions around FCPX and the direction Apple is taking its post-production software. As an experienced Final Cut Pro 7 editor, I still had a few lingering questions that needed answers. So I sought out Russ Johnson, served up an unhealthy batch of banana pancakes, and started rapidly...

The AVC Ultra codec is Panasonic’s pinnacle release of 2012, and this fall their first camera intended for that codec upgrade will be released. In addition to recording with the AVC Ultra codec, the Panasonic HPX600 will be able to shoot in AVC Intra, DVCPROHD, DVCPRO50, and DVCPRO codecs. Along the AVC Ultra upgrade the Panasonic HPX600 will offer wireless metadata from the camera, proxy recording, and another upgrade for variable frame rates.

At the 2012 NAB show Sound Devices unveiled their newest model in their Pix line of mobile recording devices, the Pix 260. The Sound Devices Pix 260 employs many of the mainstays of the flagship mobile recorder the Pix 240 while pushing for higher-end options to attempt to compete with full resolution recorders like Convergent Design’s Gemini 4:4:4.

Black Magic Design, mostly known for its Da Vinci color correction system, has slowly crept into the video production equipment line. They have created their own version of the “Super 35” Digital camera called the Black Magic Cinema Camera. A relatively straightforward name compared to the complicated model numbers of many Sony, Canon, and Panasonic cameras.

Crews Control University is a series of educational seminars on new technology, equipment, and software. The most recent Crews Control University was held at the Crews Control offices, and a couple representatives from Abelcine gave demonstration of a vast array of mobile recording device. Mobile recording devices are recording devices that attach to a camera and can record different formats, codecs, resolutions, and other options.

Once a year in Las Vegas the National Association of Broadcasters (NAB) annual tradeshow highlights the new technologies for the upcoming year but also indicates trends of the broadcast industry. Trends have carried over from last year’s NAB show with larger sensors cameras, higher resolution for less money, and versatile technology that makes production lighter, faster and easier. Let's unwrap the wonderful gifts of NAB 2012.

For 3-D production there are two options, either a 3-D rig or a twin lens camera. 3-D Rigs are bulky apparatuses that often take several people to manage. Ask any Director of Photography that has shot 3-D and they will mobility and flexibility are not words synonymous with 3-D rigs. Twin Lens cameras are more portable but the 3-D is less versatile and often the footage has an amateur look to it. Panasonic’s new addition to the 3-D camera marketplace is their shoulder mounted, ENG style, twin...

The technology to make create instant files directly from a tape-based camera is not new. Many companies have been marketing devices since tapeless cameras first camera out. But as the market becomes more refine, the devices become more intuitive. AJA has been one of the leaders in this market, and their most recent device, the Ki Pro Mini is no exception.

Sound Devices doesn’t sound like a company that would make a splash with a video mobile recording device, but they have in a big way. The Pix 220 and 240 are mobile video recorders that create up to 10-bit digital video files and transfer them to a compact flash of solid state drive. Not only can the Sound Devices Pix record from a tape to make an instantaneously digital file, it can convert resolutions of the file at the same time. The Pix 240 and 220 offers real-time conversion from 1080i...

Today’s technological world is about balance. People love large, epic technology in their homes, but the small portable for the everyday. Location production is no different. Sometimes location productions warrant a monitor when the camera is locked down, but sometimes the production is too run-and-gun to utilize a monitor. Zacuto has presented a good balance between those two situations with their Zacuto Z-Finder Electronic Viewfinders (EVF). Their line of attachable viewfinders has a 3.2”...

Apple and Intel have developed together a new transfer technology epically entitled Thunderbolt. Thunderbolt transfer technology is currently exclusive to the Lacie Little Big Disk drives. Thunderbolt technology integrates data and display protocol over a single cable, and can allow up to 10GB/second transfer speed bi-directionally from the drive to multiple sources.

Let’s get ready to rumble. In one corner we have video production equipment heavy weight Sony with the XDCam EX format shooting to SxS cards. In the other corner we have Panasonic who set the precedent for tapeless card cameras with their release of the HVX 200 in ‘05 and 13 or so

You know when you’re on a shoot and you need to raise the viewpoint of a camera, like, right away and you don’t have time to set up stage risers. In this episode of Information Overdrive, we talk with founder of Spider Support Systems, Charlie Kendall, about why every camera guy needs this portable,