Sony have at long last released their much anticipated NEX-FS100 Super 35mm NXCAM camcorder which has been designed to record video footage with shallow depth of field similar to that of a film camera.
The NEX-FS100 has a large CMOS sensor equivalent in size to that of Super35mm film, like that used in its bigger brother the PMW-F3. The NEX-FS100 also has a 35mm E-Mount interchangeable lens system that provides a wide variety of current and future E-mount lenses. This places the SONY camera firmly in battle with DSLR favorites such as the Canon D7. Although priced at an estimated £5000 (UK) the camera does appear to be very capable and produces stunning images.
The system creates AVCHD 1920x1080/50p @ 28Mbs onto a solid state device offering approx 10hrs worth of recording and can create SD material in an MPEG2 format. It will be interesting if this format and data rate is ratified by the BBC and Channel 4 for acceptable HD delivery as currently 50Mbs in the minimum.
In the single demo I have seen (see the link below) the material was edited on FCP having first been transcoded in ProRes and so not edited natively. As Avid currently does not support the AVCHD format natively we will have to wait for SONY to release an AMA plugin, but then it was Avid who actually implemented XDCam into its NLE range and not SONY so who knows. Media Composer 6?
For an in-depth review of the camera by Den from F-Stop Academy go here F-Stop Review
The official NEX-FS100 site can be found here...
Final Cut Pro – Apples high end NLE editing package - has been ‘stalled’ at version 7 for the last 2 years fuelling much speculation about the direction and future of the NLE Pro App, but would Apple really drop this flag ship product? We think not.
Final Cut Pro came from a purchase of Final Cut code from Macromedia (http://tiny.cc/e3z7n) and not surprisingly the man behind Adobe Premiere and Final Cut - Randy Ubillos - was brought on board by Apple to take the product forward to the product we have come to know today. But as Apple has stormed forward with OSX, a lot of FCP’s core code is not true 64bit but rather old Carbon code and not the desired Cocoa. This is where the system is felt to be weak and is crying out for attention by the massive user base.
In 2007 Randy Ubillos was redirected to develop and streamline iMovie08 and in turn the iLife product line. This move fuelled the rumours that the ever decreasing MAC OSX Pro Apps team (now massively over shadowed by the iOS project) was being run down in developing the Pro Apps that people were becoming so reliant on (BBC especially investing heavily in the application.) Interestingly its reported on varying sites that FCP holds about 64% of the US market and Avid a mere 22%, but figures for the UK/Europe would appear to be hard to come by.
It is now becoming apparent that Apple is redeveloping the application with Randy Ubillos back at the helm, and recoding for a complete 64bit app, but in this coding process its worth noting that Apple now feels that the application has had a swing in both platform (more and more systems now being used on laptops rather than workstations) and user type (pro-sumer and home users becoming more and more common than out and out professionals, which is bore out by the high sales of Final Cut Express) With the likes of Thunderbolt (http://www.apple.com/thunderbolt) being common place on the latest Mac books this can only fuel speculation for this shift in standard working platform for FCP. What is interesting is that the latest FCP is rumored to have support for 4K playback, improved media management which perhaps are not tools demanded by Apples envisaged user base.
What ever happen I’m sure it’ll be interesting and possibly controversial.