You still can't order it, but B & H is listing the prices for the Sony NEX-FS700 body only at $7,999, and for the camera with 18-200mm ket lens at $8,599. Delivery expected June 30.
When Sony was saying that the price would be "under $10,000" I was assuming it would be $9,999, so I'm almost shocked to see it $2,000 under $10,000. Of course, I'm shocked again because I can't afford that either.
Still, that seems like a good price and makes you wonder how much longer Canon can sell the C300 for twice the price (of course, we haven't yet got the full details on the NEX-FS700 and how it's image compares to the C300.)
FS700 Price Confirmed - It's Under $10k, but by Just How Much? | E.M. Taboada
| No Film School
More comments on the pricing, and some links to videos:
Once the 4k upgrade details come out we’ll know more about just how it stacks up with other cameras in that market space.
What do you think? Is $8k the sweet spot? How much do you think they’ll charge for that 4k upgrade? Are you in a rent-and-wait mode?
Sony NEX-FS700 slo-mo & autofocus documentary test reel shown at NAB 2012
| David Leitner | Vimeo
An example video shot on the NEX-FS700:
I received a pre-production Sony NEX-FS700 and hastily shot these tests on New York City's High Line the weekend before NAB. I finished the edit assembly the morning I left for Vegas, then recorded an impromptu intro and voiceover in my hotel room upon arrival.
All scenes were shot 1080p at either 24 fps (tripod) or 240 fps (handheld). Lenses were two Alpha zooms--a Sony Zeiss 16-35 and a 24-70, both mounted with an LA-EA2 A-mount to eMount adapter--plus the 18-200 kit zoom that ships with the F700.
Will 4K Trump 3D, Canon C500, Canon EOS-1D C, Sony NEX-FS700 and JVC GY-HMQ10?…it seems likely | Den Lennie | F-Stop Academy
Den comments on seeing footage shot with the JVC GY-HMQ10 being pretty awesome, and puts down those that think 4K is still a couple of years away:
I hear some ridiculously naive statements like ’4K transmission and delivery is years off’ so it’s not relevant but I disagree. Remember when HD first hit the technology shows, nobody had HD ready TV’s, but what HD gave us was the ability to acquire 5 x the information of Standard definition.
A Youtube Exec's 3 tips for viral ad success | AUSTIN CARR | Co.Create
Lucas Watson, VP of global video sales at YouTube gives some suggestions on how to be a success:
"The first rule is that the work has to be grounded in great human insight--people who understand the audience who they serve," Watson says. "That has nothing to do with YouTube; it has to do with people. The brands that understand the human insights better than other brands have a better chance [of success]."
Create A Vintage Look in Post with Film Stocks | Danny Greer | Premiumbeat
A quick look at Digital Film Tools filters:
The plug-in simulates over 288 color and black and white film stocks, giving your digital images a vintage or cinematic feel (a look that’s totally en vogue right now). The preset styles are based off of real-world film stocks from Fuji, Kodak, Polaroid and others.
It's a Wild West Camera Shootout: Jim Jannard and RED vs. the World on June 4th | Joe Marine | NoFilmSchool
Jim Jannard evidently didn't care for the latest video camera shootout run by Zacuto, and has issued his own challenge. Of course, does he honestly think Sony, Canon or any other camera makers is going to show up for a test he is running?
It seems that Mr. Jannard has a bone to pick with the people at Zacuto, and he wants the world to see in 4K. He’s unhappy with the tests (I couldn’t see the newest test at NAB thanks to technical difficulties) since the final output for all of the camera shootouts thus far has been 2K, and it levels the playing field for those cameras that can’t shoot above 1080p.RedUser: Real camera tests...
Last week in After Effects | Rich Young | ProVideoCoalition
A collection of links and resources on After Effects:
Here’s another summary of the last week of news on Adobe After Effects — with more on CS6, new scripts, time-lapses, light arrays, looks, and assorted tutorials and plug-ins new and old.
Using R/C Helicopters to fly your camera: Part 2 | Michael Murie
| Filmmaker Magazine
The second part of my series at Filmmaker Magazine:
In this second part of an interview with Eric Austin of HeliVideo, Eric talks about camera control, future cameras, and the most amazing sequence he’s shot so far:
How The Avengers Got “Deleted” | L.V. Anderson | Slate
You can't accidentally delete film, but you can accidentally delete digital files. Of course, it's harder to scratch the latter:
How easy is it for a digital projectionist to delete an entire film? Slate asked Steve Kraus, whom Roger Ebert has called one of “the best projectionists in the nation.” Kraus told us that it’s as easy as deleting any important file from your computer. “It’s click to delete from the server and an ‘Are you sure?’ confirmation,” he explained over email. “Of course, as with most computers it's not really gone … but probably only a real computer geek could get into the system to ‘undelete.’”
Avengers Interview with Irish cinematographer Seamus McGarvey | Paul Byrne
Interesting interview with the DP for The Avengers:
We shot The Avengers Assemble on digital, and for me, I've always shot on celluloid and film, on big cameras. This we shot on an Arri Alexa camera, and it was liberating in the sense that you could use different formats. We shot Canon 5D, we shot film as well, for slow-motion work. There was just no law to it, really; you can do just whatever you like.