The small size and completely open design of the Micro Studio Camera 4K makes it perfect for any live multi camera production! It’s virtually invisible and can be hidden just about anywhere on set, giving you the ability to have more camera angles than ever before so you can create a more interesting program. You can even hide them on stage to get incredible shots of live performances or, because they’re so small, safely fly them overhead during sporting events. It can also be used in the studio by rigging it with a professional broadcast lens and a Blackmagic Video Assist for monitoring.
The Blackmagic Micro Studio Camera 4K is engineered with a super tough magnesium alloy core in a body that’s not much larger than the lens mount itself! You can use affordable, high performance MFT lenses or add a B4 adapter to work with traditional broadcast lenses. The Micro Studio Camera’s SDI program input accepts commands via the SDI connection from any ATEM switcher so you get remote control of camera settings, color balancing, black level, gamma, lens focus, iris and zoom control and much more. The expansion port includes PTZ and B4 lens control outputs so you can remote control remote heads and broadcast lenses all from a single SDI connection.
The Micro Studio Camera is perfect for remote use because it includes an expansion port with multiple control connections such as a PTZ serial output connection so you can use motorized heads, B4 data link output for controlling broadcast lenses and you can even build customized camera control solutions using the S.Bus input. The expansion connector uses a common DB-HD15 connector so you can easily make your own cables or use the breakout cable that’s included. The expansion port also includes DC camera power in, LANC and reference input.
The Micro Studio Camera 4K includes an incredible quality broadcast grade Ultra HD sensor for amazing clarity and the finest textures. Ultra HD is even more important when you’re working in HD because the extra sensor resolution completely eliminates any color loss from the sensor’s bayer pattern so you get full bandwidth RGB HD color and superior sub pixel anti-aliasing for amazing fine image detail. The Micro Studio Camera 4K has a 6G-SDI connection so it works up to 30 frames per second in Ultra HD and can also be switched to 3G-SDI or HD-SDI so it can operate up to 1080p60. If you’re working in HD or Ultra HD the Micro Studio Camera 4K can easily handle both.
Active MFT photo lenses are designed to be small, light weight and produce super sharp images at a much higher resolution than traditional video lenses which makes them perfect for Ultra HD. They can be remotely controlled using the return SDI program feed from your ATEM switcher or from the expansion port on the camera. You can even add a lens mount adapter to use your existing collection of Broadcast B4 lenses or even feature film style PL lenses!
The Micro Studio Camera 4K includes a full size HDMI connector for local video monitoring so you can add a monitor to the camera or quickly plug in a local monitor when you’re setting the position of a remote camera or changing camera menus. There is a mini BNC connector for the main camera SDI output and a mini BNC connector for the camera program input which can be used to provide reference, control camera CCU settings, return talkback audio and tally status. There is a 3.5mm mic input for external microphones and a 3.5mm headphone socket that supports an iPhone compatible mic so you can use it for talkback.
The Blackmagic Micro Studio Camera 4K works with standard SDI camera control protocols. That means you can connect the program feed from any model of ATEM Switcher to the camera’s SDI input and remotely control any setting in the camera, color correct or even change focus, iris and zoom on supported lenses. Broadcast cameras traditionally have basic CCU color balance controls, however the Micro Studio Camera 4K includes a full DaVinci primary color corrector so you get so much more than simple CCU controls because you can also do a full color grade in the camera. Now the technical director can fine tune the settings and match the looks of cameras quickly.
The built in row of buttons along the front of the camera gives you quick and easy access to power, menu navigation and settings. Because they’re on the front, the buttons are always accessible, even when rigged into tight locations. Simply plug into any HDMI display such as a TV or the portable Blackmagic Video Assist so you can see the camera’s menus and you can easily change any of the camera’s settings. You can use the menus to set the camera up and then that allows the switcher to take control of the camera via the SDI program input.
The built in stereo microphones are engineered for high quality audio and feature a mechanical design that helps reduce unwanted wind noise so you get great sounding audio. When you need better audio in windy outdoor conditions such as sporting events, you can plug in an external mic with a wind sock to capture clean sound! The camera instantly switches to the external microphone when one is connected and can work with both line or mic levels. Whether you’re using the built in microphones or attaching one from the outside, the audio is embedded into the SDI video output so you get perfect audio and video sync!
The Micro Studio Camera 4K includes an iPhone style headphone socket with mic so you get full talkback support. You can also use standard noise canceling headsets, like those from Bose, Sennheiser and more to hear the technical director without distraction from the audience. Because the camera has an SDI connection to the switcher and an SDI connection from the switcher the talkback audio is embedded into channels 15 and 16 of the SDI signal and you get two way communication. If you’re setting up fixed cameras, talkback makes it easy to walk from camera to camera and plug in your headset to communicate with the rest of the crew to get the best angles and framing.
The camera includes a 12V to 30V DC power input so you can power the camera using any standard power supply or even a simple plug pack. There is a standard LP-E6 Canon compatible battery receptacle on the back of the camera so you can add a battery to get local back up power if the power supply gets accidentally disconnected during a critical live broadcast. The power input is located on the expansion port so you can simply connect power to the breakout cable or you can make a custom cable so you can have multiple camera connections over longer distances and all down a single cable loom.
The expansion port combined with the flexible MFT lens mount and external mounting points gives you a massive amount of options for customizing your studio camera! You can use the camera remotely by itself, or you can add accessories to rig the camera so you can build your own custom studio camera! Add 3rd party lenses from companies like Olympus, Panasonic and others, or use an adapter to work with a wide range of B4 lenses or even feature film PL lenses! Two ¼” mounting points are on the top and bottom of the camera so you can tripod mount the camera and add local monitor to use as a viewfinder. You can even add an external recorder to build a custom Ultra HD video camera.
Since its inception, Metabones has been designing and manufacturing lens adapters recognized among professionals and enthusiasts as leaders in design and workmanship.
Contrary to the popular trend of other factories using an aluminum ring painted black on the camera-body-side, we instead take no short-cut but use precision-machined brass with chromium plating on both the camera-body and the lens sides of our adapters, in order to ensure smooth mounting, great appearance, and durability. The lens side of the adapter features a strong leaf-spring structure, strengthening the adapter-lens connection and ensuring tightness of the lens in order to reduce wear and prevent focus errors and optical alignment issues from appearing.
Metabones uses matte-black treatment to keep internal reflection to a minimum in order to maintain the maximum optical quality possible with the lens.
All Metabones Adapters follow this tradition of uncompromising precision, robust build quality and outstanding finish. Our new Smart AdapterTM series of products add industry-leading electronic interfacing technology from Canada, with true electronic control of the lens' aperture directly from the camera body.
Our Smart AdapterTM series adapters have the following additional features
Tips: Before mounting your lens to the adaptor, please make sure that the f-stop of aperture ring on the adaptor is turned to "7" (i.e. mounting your lens to the adaptor while only the aperture ring in the adaptor is full closed.).
The tripod foot is Detachable and compatible with Arca Swiss, Markins, Photo cam ball head
Smart AdapterTM series adapters have the following additional features
Remark: This mount is manual aperture control. It does NOT support electronic aperture control.
Disclaimer: we are NOT licensed, approved or endorsed by Micro Four Thirds or Nikon
Nikkor 2.1cm f4
Hacked Firmware for high data rate, less compression.
The high speed Live MOS Sensor realizes burst shooting in 16.05-megapixel full resolution at 5 fps with mechanical shutter and even 40 fps in 4-megapixel recording mode. The DMC-GH2 also features fast, accurate Light Speed AF. The DMC-GH2 employs an 18.31 mega total pixel sensor. Using only about a 16.05-megapixel area of sensor makes it possible to give three aspect ratios – 16:9, 3:2, and 4:3 – the same angle of view. The image processing LSI, Venus Engine FHD assures high picture quality in both photo and movie recording.
The DMC-GH2 can record high-resolution full-HD 1,920 x 1,080 50i movies in AVCHD format. Sensor output is 50p. High quality sound can be recorded with Dolby Digital Stereo Creator. In addition, the DMC-GH2 has a wide range of movie modes including Manual Movie Mode, 24P Cinema Mode with 23Mbps, Variable Movie Mode and iA Mode. When the DMC-GH2 is connected to a Panasonic VIERA via an optional mini HDMI cable, the TV's remote control unit can be used to enjoy playing back with greater convenience.
The DMC-GH2 adopts touch-control shooting. While shooting, AF can be set at the desired part of the frame with just a touch. You can also operate the AF and shutter release at the same time. While playing back, you can quickly select an image to view by scrolling images. The 3.0-inch 460,000-dot free-angle LCD with a touch-screen operation makes both monitoring and touching at any physical position. In addition, the Double Live-View function offered by the free-angle LCD and 1,533,600-dot Multi Aspect Wide Screen LVF (Live View Finder).
The My Color Mode and Film Mode featuring new Cinema Mode make it easy to customise colour effects to match your preference. In still image recording, the Peripheral Defocus Mode automatically adjusts the focus to match the AF area you positioned while gently defocusing the foreground and background to emphasize the subject. In movie recording, Variable Movie Mode records movie in slow or quick. When the LUMIX G 12.5mm / F12 is attached, the DMC-GH2 can shoot 3D images. To view the recorded images, simply connect the DMC-GH2 to 3D VIERA televisions.
The iA Mode, featuring Intelligent D-Range Control and advanced Intelligent Resolution technology, serves as a combination of functions that makes it easy for anyone to get beautiful photos and movies. With the advanced Intelligent Resolution technology, 3 areas – outlines, detailed texture areas and soft gradation areas – are detected. Apart from the uniform enhancement of sharpness, this technology precisely performs signal processing pixel by pixel in most effective way according to the area. As a result, images are clear and crisp.
Samyang 12mm T2.2 Cine NCS CS lens is a wide-angle mirrorless video lens designed for APS-C crop sensors. T-number representing actual amount of light transmission is marked on the lens to assist much accurate shooting. Distinguishing focus ring gear is suitable for follow focus system, and uncoupled aperture ring controls aperture quietly during shooting for precise operation. Samyang 12mm T2.2 Cine NCS CS lens is operated under manual aperture system with low T-number which enables natural shooting under various light exposure circumstances. For the first time in Samyang Optics history, Nano Coating System(NCS) is used to provide the best quality image with low reflection rate. Samyang lens shows an exceptional optical performance especially in light transmission. Optical construction of Samyang 12mm T2.2 Cine NCS CS lens features 12 lenses in 10 groups – among lenses, there are 1 hybrid aspherical lens(H-ASP), 1 glass aspherical lens(AS) and 3 low-dispersion glass lenses(ED) capturing high quality image. H-ASP revises the color aberration to realize exceptional image quality and contrast throughout center to corner of image when aperture is fully opened. ED lowers color aberration effectively by minimizing the unnecessary light dispersion. With such optical construction, 0.2m of the minimum focusing distance is provided. There are 6 aperture blades designed to be almost as a full circle when aperture is closed which expresses starlike ray clearly and beautifully. The frame of the lens is compact and solid since it is made of high-strength aluminum alloy. Trustworthy images can be captured even under inferior environment. Also, detachable petal-shaped lens hood minimizes flare and ghost by sheltering lens from unnecessary lights.
Soft and quite serrated aperture ring and focus ring are optimized for video shooting to provide precise and comfortable shooting environment.
NCS is used to lower reflection rate more effectively to provide higher contrast.
It lowers unnecessary light dispersion to effectively drop color aberration.
It minimizes color aberration to realize exceptional image quality and high contrast for center and corner of image even when aperture is fully opened.
6 aperture blades create almost a full circle when closed and express ray beautifully as starlight.
This high-performance wide angle lens is designed exclusively for mirrorless interchangeable lens cameras and has the equivalent angle of view as a 38mm (35mm equivalent focal length) on the Micro Four Thirds systems and 28.5mm (35mm equivalent focal length) on the E-mount systems.Three glass mold aspherical lenses provide excellent correction for distortion, color aberration and field curvature. The inner focusing system corrects the fluctuation of aberration to maintain image quality regardless of the focal distance. Sigma's Super Multi-Layer Coating reduces flare and ghosting and provides sharp and high contrast images even at the maximum aperture. The superior telecentric optical design improves image quality throughout the frame. This lens benefits from a newly developed linear AF motor which moves the lens elements directly without the need for gears or the drive of other mechanical parts. This system ensures accurate and quiet autofocusing, making the lens suitable for video recording as well as still photos. The lens features a rounded 7 blade diaphragm creating an attractive blur to the out of focus areas of the image. This Sigma 19mm F2.8 EX DN has a minimum focusing distance of 20cm/7.9in and a maximum magnification ratio of 1:7.4.
* The appearance, specifications, and the like of the product are subject to change for improvement without notice.
Redesigned with a metal exterior under the Art category, this high-performance standard lens is designed exclusively for mirrorless interchangeable lens cameras and has the equivalent angle of view as a 60mm lens (35mm equivalent focal length) on the Micro Four Thirds systems and 45mm (35mm equivalent focal length) on the E-mount system. Two glass mold aspherical lenses, including a double-sided aspherical lens, provide excellent correction for all types of aberration. The inner focusing system corrects the fluctuation of aberration to maintain image quality regardless of the focal distance. Sigma’s Super Multi-Layer Coating reduces flare and ghosting as well as provides sharp and high contrast images even at the maximum aperture. The superior telecentric optical design improves the image quality throughout the frame. The optical design also allows the lens to be compact and lightweight. This lens benefits from a newly developed linear AF motor, which moves the lens elements directly without the need for gears or the drive of other mechanical parts. This system ensures accurate and quiet autofocusing, making the lens suitable for video recording as well as still photos. The lens features a rounded 7-blade diaphragm creating an attractive blur to the out of focus areas of the image. This Sigma 30mm F2.8 DN has a minimum focusing distance of 30cm/11.8in and a maximum magnification ratio of 1:8.1, and comes in either a silver or black finish.