Sony introduces the PMW-300 semi-shoulder mount camcorder – bringing a new workhorse to broadcast, productions and corporate events


Sydney, Australia – June 12, 2013: Sony today announced the PMW-300 XDCAM camcorder, equipped with 1/2"-type Exmor™ Full-HD 3CMOS sensors capable of delivering incredible images even in low-light conditions. The PMW-300 is ideal for broadcast producers and corporate event camera operators who require a flexible semi-shoulder mounted camcorder that can easily be adapted to suit a wide range of production environments.

An evolution of Sony’s industry leading PMW-EX3, the PMW-300 is able to record 50Mbps HD material in MPEG HD422, meeting broadcast standards around the world for HD broadcast acquisition. The high bit rate ensures excellent capture of fast moving objects, while its chroma subsampling is perfect for a wide range of video encoding areas such as VFX and green screen applications. The camcorder can also be upgraded in the future to support Sony’s revolutionary XAVC codec, extending the lifecycle of the product to ensure maximum return on investment*.

The 1/2"-type Exmor™ Full-HD 3CMOS sensors offer high light sensitivity and low image noise. As a consequence, it delivers clear high-resolution images even when filming in low-light conditions. The camcorder also includes Sony’s advanced signal processing technology, which suppresses noise effectively and thus creates noticeably clearer images.

“The PMW-300 incorporates all the market leading features from our XDCAM family in a semi-shoulder HD422 50Mbps camcorder,” said Anthony Kable, Senior Product Manager, Australia and New Zealand. “From working closely with our customers we know there is strong demand for a truly versatile semi-shoulder camcorder that has been designed to meet the needs of the broadcast, production and corporate event worlds.”

The PMW-300 features the same EX-mount interchangeable lens system as the PMW-EX3, making it compatible with a wide range of 1/2 inch and 2/3 inch lenses. There are two types of lens packages planned to be available for the PMW-300. One is with a 14 times zoom lens (PMW-300K1), and the other is with a 16 times zoom lens (PMW-K2). Both lenses have a focus ring for quick switching between auto and manual focus, in addition to the dedicated zoom and iris rings.

An HD-resolution 3.5-inch colour LCD viewfinder (960x540 pixels) enables precision focusing for HD filming, while the 8-pin remote control and multi-camera operation capability allows the PMW-300 to be used in 3D configurations and high-end camera systems.

With HD-SD/SDI and HDMI outputs, the PMW-300 connects not only to broadcast infrastructures, but also to consumer devices equipped with HDMI inputs. Timecode and genlock interfaces enable use in multi-camera setups and 3D configurations. The 8-pin remote connector allows for remote adjustment from a remote control sold separately.

Based on customer feedback the PMW-300 features an innovative semi-shoulder design that has a rotary hand grip, allowing comfortable recording over long periods of time. Its magnesium metal body ensures the camcorder is robust and like its predecessor, the PMW-EX3, can withstand even the harshest production environments.

Like all of Sony’s solid-state XDCAM camcorders, the PMW-300 has the most flexible choice of recording media in the market, allowing customers to choose to record on Sony’s professional SxS memory card as well as other media such as SD, Memory Stick and XQD cards depending upon their budget and application.

Sony today also confirmed that an optional wireless adapter currently in development will enhance proxy recording, wireless transfers, Wi-Fi viewing and metadata input.

An ideal companion for the PMW-300 would be the new UWP series of wireless professional audio products.

The PMW-300K1 with a 14 times zoom lens will be available from October 2013.
The PMW-300K2 with a 16 times zoom lens release date is still to be confirmed.

*XAVC support for HD will be available in 2014

15 May 2013

In its latest Sony equipment purchase Global Television has acquired a further 31 Sony HDC series high definition cameras, taking its Sony HD camera inventory to nearly 250 and cementing Global’s industry-leading HD camera chain offer.

Global’s new Sony cameras will be deployed on diverse broadcasts including Big Brother 2013 for the Nine Network and NRL for Nine and Fox Sports.

The agreement, which extends Global and Sony Australia’s longstanding partnership, was reached at NAB 2013 and encompasses 10 HDC-2400, three HDC-2500 and 18 HDC-P1 point-of-view (POV) cameras.

Marc Segar, Director of Technical Services at Global Television, said: “With Global’s ever-expanding slate of challenging and complex outside broadcast and studio OB productions, we need the latest and most robust HD camera chains. Sony’s HDC series more than meets that brief, allowing us to deliver 24/7 productions such as Big Brother and the fast live-to-air sporting action that is NRL to the exceptional standards our clients and viewers expect.”

Garry Rhodin, General Manager of Sony Australia’s Professional Solutions Division, said: “It’s part of the Sony ethos that we continually try to develop our customer partnerships as well as our technology in order to provide the very best in equipment, service and support for the long term. This latest sale of HD camera chains to Global TV is a very good example of that philosophy in action. As a result we look forward to supplying Global with their HD acquisition requirements and more, for some time to come.”

Global Television will use its new HDC-2500s for slow-motion capture during NRL games. Five of the HDC-P1 POV cameras will also be deployed on NRL, enhancing Global’s existing camera resources.

For Big Brother Global has added 10 HDC-2400 and 13 HDC-P1 POV cameras – which allow high quality night-time images, essential to documenting round-the-clock events in the Big Brother house. They bring the total number of Sony HD cameras used on the program to 35.

The expanded camera inventory joins Global’s new second-generation Sony Trimaster EL OLED (organic light emitting diode) displays in the Big Brother control room and technical positions. OLED displays work without a backlight and offer deep black levels and extremely high contrast ratios, even in low ambient light conditions – essential to ensure viewers don’t miss a second of the goings on.

Global Television also recently installed a Sony MVS-8000X vision mixer into HD4 – used on NRL and other major outside broadcasts – making the HD supertruck one of Australia’s most powerful OB vehicles.

Heard Island expedition shot with new Sony PMW-200 HD camera
Australian Sub-Antarctic shoot

Sydney, 19 April 2013 – When Queensland-based Marine Biologist and filmmaker Dr. Dean Miller was approached to shoot one of the most remote places on earth with the new Sony PMW-200 HD camera his reaction was a justifiable mix of excitement and trepidation.

Miller explained, “Heard Island in the Australian Sub-Antarctic is extremely hard to get to and only very few people have ever seen it let alone stood on it. When you get an invitation to take part in an expedition to visit somewhere as special and untouched as this, you simply say, yes please and what’s involved?”

The assignment, one Miller describes as his “hardest to date”, involved a 10,000km open ocean voyage through the notorious Southern Ocean to get to the tiny island and a three-day window to explore, research and shoot when they got there.

Miller continued, “I only had three days to get as much usable footage as I could to tell the Heard Island story. In fact the shoot ended up being much harder than we first thought it might be. After sixteen days at sea in ferocious conditions we finally arrived but could not get anywhere near the island. Blizzards held the ship off the coast and we got only the smallest of glimpses of Heard for thirty hours, which meant thirty hours less time I had to shoot. Once the storm cleared we had a nine hour window before the next storm was forecast, so we landed and while also covering over 10km on foot, shot as much as I possibly could. The day after it was back to blizzards, and with just one day remaining things were getting tight. We managed to get back on the island for another four hours and somehow shot enough footage for the rest of the story. Without doubt the greatest moment on the island was when the weather cleared giving us beautiful blue skies and revealing Big Ben, Australia’s highest peak, only active volcano and birthplace of our glaciers. It is something I will never forget and was one of the most stunning scenes I have ever witnessed. Everything I thought I knew about cameras, filming, wildlife and the weather all had to come together for those 13 little hours.”

Accompanying Miller on his expedition into the unknown was the latest Sony PMW-200, the much-anticipated upgrade for the PMW-EX1, a camera that Miller had used extensively all over the world.

Miller added, “I know the EX1 back to front and was excited beyond belief to test drive the PMW-200. I took one camera and one camera only so it had to work first time every time. My guess was that if the PMW-200 was anything like my old EX1 it would be the perfect tool for the job - super high quality, reliable, versatile, excellent on batteries, compact and tough against the conditions. It was. I knew we were onto a winner as soon as I saw the PMW-200 was small enough to be carried along with my survival equipment, but large and powerful enough to shoot the amazing HD footage that the broadcasters required.”

Sony’s PMW-200 supports the 50 Mbps MPEG HD422 codec and MXF recording and with its three 1/2-inch Full HD Exmor CMOS sensors (1920x1280), the PMW-200 is able to achieve high resolution (1000 TVl), high sensitivity (F11@2000 lx), low noise (56 dB), and wide dynamic range.

Dr. Miller concluded, “The PMW-200 does it all in my opinion - great lens, great range, fast and slow motion and an awesome time-lapse function with plenty of options. This camera can pull off wildlife shooting with ease because it is so easy to setup and very simple to use. On Heard Island the PMW-200 performed flawlessly. The higher 50 Mbps bit rate is a real bonus and is one of many winning features of the PMW-200. The screen has been improved which is great and it was super easy to navigate menus and buttons, just like the EX1. The camera is also very intuitive and very easy to simply pick up and shoot with, another bonus especially if you don’t like reading manuals. It’s hard to fault the PMW-200 and if you think you got great results with an EX1 then wait until you try this camera as it takes things to a whole new level.”

(the camera I / we wanted from the beginning....oh well, it's good to see it finally made it)

Las Vegas, April 7, 2013: Sony today announced its new PMW-400 shoulder-mount camcorder at the NAB Show 2013 in Las Vegas. The latest addition to Sony’s widely-used XDCAM HD422 line-up, the PMW-400, incorporates a 2/3-inch Exmor™ Full HD 3CMOS sensor for capturing beautiful images with high sensitivity and low noise. It has been designed with a host of features that make it a great fit for applications like ENG or live production.

“The PMW-400 reflects Sony’s continued commitment to bringing quality imaging solutions to market, with products that are at the top of their game,” said Fabien Pisano, Strategic Marketing Head, Sony Europe. “We’ve designed the PMW-400 to acquire high quality, clean images especially in low-light environments. It’s very ergonomically-balanced, easy to operate and includes features that make it fit seamlessly into various types of productions and workflows. This really opens up new opportunities around cost efficiency and flexible shooting to achieve the desired results.”
Higher Picture Quality with HD422 Codec
Capable of MPEG HD422 50Mbps recording, the PMW-400 is unique among the field of 2/3-type camcorders thanks to its noise reduction capabilities and rich selection of formats that it can handle. Its 3 Dimensional Noise Reducer (3DNR) accurately detects and processes images to reduce noise, achieving a Signal-to-Noise (S/N) ratio of 60dB which is outstanding among 2/3-type camcorders. A wide variety of formats are supported by the PMW-400, including MPEG2 HD422@50Mbps, HD420@35Mbps/25Mbps, MPEG IMX@50Mbps, and DVCAM. The PMW-400 will also offer future XAVC support for HD so users can be well-placed to meet the ever-increasing demands for high quality image capture.

Improved Viewfinder
The supplied viewfinder features improved panel resolution of quarter HD 960(H) x 540(V) compared to previous models that had a resolution of VGA 640(H) x 480(V). In addition, contrast and viewing angles are considerably better in the new viewfinder.
Flash Band Compensation via Internal Processing
The PMW-400 incorporates a valuable new feature – an internal Flash Band Reducer based on a processing circuit installed inside the camcorder. In addition to current flash band reducing processes via content browser after recording, the camcorder also employs a special algorithm to detect and process flash banding inside the camcorder before recording. This provides greater flexibility in reducing flash banding across different shooting environments.

Operational Flexibility
To enhance convenience and flexibility during program production, the PMW-400 is built with two SDI connections that enable, for example, the director and cameraman to concurrently check content shot via two different monitors.

An optional CBK-CE01 50-pin interface lets the PMW-400 connect to camera adapters for greater creative possibilities through multi-camera operation. By connecting to the CA-FB70 optical fibre or CA-TX70 digital triax camera adapter, the PMW-400 can be used as a studio camera in live production and transmit signals over long distances while maintaining high picture quality.
R&D Prototype: Wireless Adapter for 3G/4G/LTE and Wi-Fi Connections
For easy transmission by network and efficient on-site operation using Wi-Fi, a wireless adapter is under development. The adapter is directly connectable to the PMW-400 to enable proxy files generated on the microSD to be transmitted via 3G/4G/LTE/Wi-Fi. Due to this easy transmission of proxy files from the shooting location to a broadcast station via network connections, ENG workflows can be accelerated tremendously. Using Wi-Fi transmission, the adapter is also workable with the mobile application installed on devices such as tablet PCs and smartphones. Additionally, to drastically improve on-site operation, a range of features currently being planned include file browsing management, proxy file preview, stream viewing for camera signal, file transfer of proxy files and high-resolution files as well as metadata input and remote camera control.

Available from August 2013 onwards.

Sony to launch HXR-IFR5 Interface Unit that Realises 4K recording on the NEX-FS700

SYDNEY, 07 April 2013 – Sony today announced the launch of the new HXR-IFR5 interface unit which will

connect the NEX-FS700 camcorder and the AXS-R5 RAW recorder. With this combination, 4K RAW recording

will be available with the NEX-FS700.

By applying a firmware upgrade to the NEX-FS700, 4K/2K RAW output via the 3G HD-SDI terminal will be

available. The new HXR-IFR5 interface unit is equipped with an SDI terminal that can be used to input RAW

data from the camcorder and pass the data to the AXS-R5 RAW recorder. AXS-R5 is able to record RAW data

onto an AXS memory card.

The frame rates in 4K (4096x2160) recording mode are 24p, 25p, 30p, 50p and 60p. In 4K mode, 120fps high

speed recording will be available for a limited duration of approximately 4 seconds. In 2K (2048x1080) recording

mode, continuous 240fps and 120fps shooting will be available at unlimited durations.

The workflow to process RAW data will be exactly the same as the RAW workflow used in the combination of the

existing CineAlta™ 4K cameras, PMW-F55/F5, and the AXS-R5.

Expectation of access to and interest in 4K is becoming greater, even in the low cost content creation market.

The combination of HXR-IFR5 with the NEX-FS700 and the AXS-R5 will be a perfect choice, and will expand the

possibilities of content creation to the next level.

Basic Features of HXR-IFR5

External RAW recorder for NEX-FS700 via SDI

The AXS-R51 docked onto the HXR-IFR5 will become an external RAW recorder for the NEX-FS7002.

Connection with the NEX-FS700 will use a single 3G HD-SDI cable, therefore various shooting styles are

possible. The NEX-FS700 can become a camera head when used separately, or it can be used like a camcorder

if the whole system is mounted onto a rig. Sony has provided a 1/4 inch screw hole for those kinds of rig

solutions. HXR-IFR5 will use the power source on the AXS-R5, and the AXS-R5 can be powered by a BP-FL75

lithium ion battery pack or an external DC 12V power source using the XLR 4 pin power input.

16 bit linear RAW recording onto the AXS memory card

The combination of the HXR-IFR5 and the AXS-R5 makes recording 16-bit linear RAW files onto an AXS

memory card possible. Thanks to the 16-bit linear RAW recording, the full potential of the 4K imager on the NEX-

FS700 – its broad latitude and high colour resolution – can be captured in the recorded RAW files.

Using the AXS-CR1 card reader, recorded RAW files can be easily transferred to a PC and the “RAW Viewer 3”

software provided by Sony used to view, process and also do some simple colour grading on the files. Not only

high quality motion picture footage, but high resolution 8.4M still pictures can also be captured.

4K/2K high speed shooting

Other than 4K (4096x2160) recording at 24p/25p/30p/50p/60p, 120fps recording in 4K resolution is available

for approximately 4 seconds. Also, in 2K (2048x1080) recording mode, 240fps/120fps high speed continuous

recording is available for unlimited time. These high speed recording modes4 are only possible with the

combination of NEX-FS700, HXR-IFR5 and the AXS-R5.

AVCHD simultaneous recording on NEX-FS700

Even in RAW recording mode5, NEX-FS700 can simultaneously record AVCHD onto the camera’s memory card.

The recorded AVCHD files will have the same time code as the RAW files, meaning the AVCHD files can be

used as proxy files for off-line editing.

HD output for monitoring

HDMI/component/composite video outputs on the NEX-FS700 and the AUX OUT of the AXS-R5 can be used for

monitoring purposes. In order to achieve accurate monitoring of the wide dynamic range made possible by RAW

recording, Sony has added S-Log2 settings to the picture profile of the NEX-FS700.

* Note: The gamma setting cannot be set individually for each video out/LCD panel/AVCHD recording.

The HXR-IFR5 interface unit will be available from the end of June 2013 onwards.

AXS-R5 will need an updated firmware version which will be provided by the time of the sales of HXR-IFR5.
will need a service upgrade (charged option).

Music video shot exclusively with Sony F65 camera High-end Sony F65 camera system and efficient post workflow

Sydney, 25 March 2013 – Sydney-based NZ DOP Callan Green recently finished shooting Lanterns a music video for Birds of Tokyo, one of Australia’s hottest bands, exclusively on the Sony flagship F65 4K camera.

Green who collaborated with Director Josh Logue specifically chose the F65 due to its picture quality and ease of workflow saying, “Josh and I wanted to shoot Lanterns anamorphically. As a Sony F65 owner operator I could make this happen cost effectively and still keep the look we wanted.”

Green and Logue scouted locations around Sydney settling on the Arts School in Darlinghurst for the main shooting day and several different locations across the city over the next three days for the video’s narrative.

Green continued, “We wanted to shoot in as much natural light as possible so the F65 was perfect as it handles all lighting scenarios so well, especially high and low key situations. Shooting anamorphic with the F65 is a dream as there is just so much resolution to play with, also the sensitivity of the sensor negates any stop loss due to the slower speeds of the older anamorphics. To help get the look we wanted I shot with a set of 1980’s Russian Lomo lenses. This combination of old glass and new camera technology contributed to our images being a little bit unusual and luring.”

Sony’s F65 has rapidly been growing in popularity since its launch with recent upgrades to the camera and developments to the workflow making shooting and post production simpler, easier and more efficient.

Callan Green added, “The F65 allowed us to shoot Lanterns wherever and whenever we wanted as it’s so good in every lighting situation that you could encounter. By using the internal ND filters we could shoot organically without using any additional bulky matte boxes. The 4K images really are incredible but that wasn’t the end of the story. The workflow is the icing on the cake. Whilst people are often reluctant to learn new things it really is worth the time to learn the Sony F65’s workflow if you haven’t already. Firstly it’s intuitive and doesn’t take long at all. For Lanterns I used a MacBook Pro and free downloadable copy of DaVinci Resolve Lite 9 to do all the transcoding, de-anamorphasising and cropping, which rendered out QuickTime Lite files at around 15-20 frames per second. Having shot many TVCs, promos and short films with the F65 I can honestly say it is an astonishingly good camera to work with.”

To see the Birds of Tokyo Lanterns music video go to: www.youtube.com/watch?v=mbJ3vacGOhw
Callan Green DOP: www.callangreen.com

Picture credits:
Stills from the Birds of Tokyo Lanterns music video

The crew on the set of A Place to Call Home (l-r) Cisco Vecuna, Jason Binnie, David Williamson, John Stokes ACS, Troy Reichman, Onni Elliot and Luke Nixon on the set of A Place to Call Home
First Australian drama series – A Place to Call Home – shot exclusively with Sony F65 cameras Production utilises high-end Sony F65 camera system and efficient post workflow

Sydney, 11 March 2013 – A Place to Call Home, the Seven Network’s upcoming television drama starring Noni Hazlehurst and created by Bevan Lee and the producers of Packed to the Rafters and Winners & Losers, is the first Australian series to be shot exclusively with Sony’s flagship F65 4K camera. Director of Photography on A Place To Call Home – a series described as a ”compelling melodrama about love and loss set against the social change of the 1950s” – was John Stokes ACS who explained the rationale behind choosing the F65, “I had been using Sony F35s on Packed to the Rafters and I was curious to see what the F65 offered as a camera system. After a lot of research and testing I came to the conclusion that this would be a perfect system to shoot the new Seven flagship TV series A Place to Call Home. I liked the look of the images coming out of the F65 in both HD and RAW. The colours looked natural and rich. The images looked crisp yet not unnaturally sharp. The workflow also proved to be a big plus working with the SR Codec.” The Sony F65s for A Place to Call Home were supplied by Lemac Australia’s Sydney office, a Sony Content Creation dealer and supplier of equipment, production support, post and technical services for digital cinema, broadcast, TV and film projects. Stokes continued, “The production values for A Place to Call Home were very high so we really needed a camera and an equipment supplier to match. The F65 proved itself to be fast, flexible, have very high image quality and critically a simple and stable post workflow. It really helped me as a DP to work faster knowing that I had confidence in tight situations. Lemac offered very good on and off set support which was also a great help throughout the shoot.”

Sydney, 26Feb 2013
First deliveries of the highly anticipated new F Series cameras from Sony started shipping to dealers in Australia and New Zealand this week.

Featuring 4K Super35mm sensors, multiple codec recording choices and a design that is the result of wide consultation with top cinematographers, the new F Series was announced late last year and promises to set a new benchmark in performance, flexibility and price.

Nick Buchner, Sony’s Senior Product Manager - Content Creation, said “We’re very pleased that the advance demand for both the new PMW-F55 and PMW-5 models has been so high locally. It’s been the same story around the world and stocks will further ramp up over coming weeks, so that hopefully all orders can be satisfied before the end of March.” He added, “We know there are a lot of DoPs and operators just itching to get their hands on the new models and put them to work - and we’re working hard to secure as many as we can!”

More details on the PMW-F55 and PMW-F5 are available at http://pro.sony.com.au

SYDNEY, 21 February 2013 – Continuing its trend of swiftly bringing to market high quality pro camera accessories for the latest DSLRs and digital cameras, ARRI has released accessories for Sony’s new F5 and F55 cameras, making them fully compatible with ARRI support and all industry-standard matte box and follow focus systems.

ARRI Base Plate
Designed specifically for the Sony F5 and F55, this ARRI base plate makes the cameras compatible with lightweight support standards and includes a built-in "Touch and Go 35" plate. With this, the camera can be mounted to a head or anything else with a standard quick release plate, allowing it to be quickly and safely secured – for example in between takes when shooting handheld. Two ARRI rosettes extend out to the sides of the base plate in order to attach handgrip systems and extensions. For studio configuration, the base plate accepts studio bridge plates such as ARRI’s BP-8 or BP-9.

ARRI Top Plate
The ARRI top plate for Sony F5 and F55 cameras is designed to offer multiple mounting interfaces for accessories. An ARRI handle can be attached at three different positions to optimize balance, although the original Sony handle remains compatible. With its multiple centred interfaces, the top plate can also be used as a low mode plate for Steadicam shots. An optional 15 mm lightweight support rod adapter can be attached to the front of the plate, optically centred to the camera.

ARRI Viewfinder Adapter
The Viewfinder Adapter VFA-1 allows the mounting of Sony viewfinders to all ARRI 3/8-16" interfaces.

ARRI Shoulder Pad
This shoulder pad mounts to the bottom of Sony F5 and F55 cameras via a hand screw and can be used independently of a base plate. When used alongside the ARRI base plate, the shoulder pad can remain in place even when the camera is secured to a head via the base plate’s built-in "Touch and Go" quick release system.

Sony Australia will launch the PMW-F55 and PMW-F5
in Sydney:
Wed 12th DEC 2012
in Melbourne
Thurs 13th DEC 2012

REGISTRATION with SONY AUSTRALIA before Dec 2 2012