American Cinematographer - May 2011 - 84

New Products & Services
Canon Introduces Ultra-Compact XA10 Canon U.S.A., Inc, has introduced the ultra-compact XA10 Professional Camcorder, ideal for situations that demand mobility. The XA10 records Full HD 1080p video using an AVCHD codec. The compact XA10 includes a detachable handle for lowangle shooting and portability; with the handle attached, the XA10’s functionality is further enhanced with the addition of XLR inputs and an external microphone holder. The camcorder also boasts infrared video capture, as well as the option of recording to a 64GB internal flash drive or two SDXC-compatible card slots, as well as Relay Recording and the ability to record simultaneously to two cards for instant backup. The XA10 features a Genuine Canon 10x HD Zoom lens, 1⁄ 3" native Canon DIGIC DV III Image Processor and a Canon 1920x1080 CMOS image sensor,which delivers outstanding resolution and quality. The zoom boasts a 35mm equivalent range of 30.4mm–304mm withan eight-blade iris capable of rendering natural, smooth background blur with reduced lens diffraction. The lens also features Canon’s SuperRange Optical Image Stabilizer (OIS) system with standard, Dynamic and Powered IS modes for steady video in almost any shooting situation. Autofocus speeds can be selected from Instant, Medium and Normal to match the shooter’s preference, and a focus ring on the lens allows for manual focus as well. For extreme low-light shooting the XA10 includes an infrared feature. The camcorder also includes an infrared emitter with a diffuser as well as a Green or White color option to shoot pleasing high-definition infrared imagery even in complete darkness. The XA10 provides users with complete manual control of various functions including frame rates, zooming speed, focus, shutter speed, white balance and gain control. Various frame rates can be selected to match the user’s preference — 60i, PF30, PF24 and native 24p. Through internal menus, users can adjust zoom-speed settingsfor High, Middle and Low in 16 one-step increments for both the body lever as well as the handle control. The focus ring on the lens can be customized for manual focus control and users can set the direction of rotation, as well as three levels of response control. Auto-focus speed can be adjusted for smooth auto-focus transitions, and a Face-Only AF mode allows for a blurred image as a person walks offscreen. The camcorder’s white balance is
84 May 2011

• SUBMISSION INFORMATION • Please e-mail New Products/Services releases to: newproducts@ascmag.com and include full contact information and product images. Photos must be TIFF or JPEG files of at least 300dpi.

adjustable from 2,000°K to 15,000°K in 100°K increments. The XA10 camcorder also incorporates a waveform monitor into the camera body for accurate exposure and detailed analysis of image brightness. Checking critical focus is also extremely easy with the high-resolution LCD screen and peaking,magnify and Canon’s Edge Monitor Focus Assist system. For in-camera cinematic effects, the XA10 provides nine customizable cinema filters, which can be adjusted in three levels — Low, Medium and High. Additionally,the Standard Cinema Filter function is further customizable through Color Depth, Contrast, Soft Filter and Key adjustments. The camcorder’s overall design is intended for comfortable operation whether gripped in the operator’s palm or by the handle for low-angle shooting. Compact and lightweight,the entire camcorder weighs only 1.7 lbs. and measures only 3.7"x8.1"x7.0", including the lens hood and handle. The 3.5" high-resolution (922,000 dot) touch-panel LCD screen provides a large, vibrant display and can be flipped for solo shooting with the LCD screen facing the subject. The camcorder also includes an electronic viewfinder for use in bright conditions where it would be difficult to use the LCD panel. The XA10 features dual XLR inputs for external audio sources as well as a built-in stereo microphone. The camcorder supports Dolby Digital 2ch (AC-3 2ch) with automatic and manual audio-level adjustment. Embedded in the detachable handle are the camcorder’s XLR terminal inputs, audio switches, infrared light, tally lamp, removable microphone holder, zoom and record switches,and a “cold” shoe. For easy connection to both Canon and third-party wired remote controllers, the XA10 has a built-in remote-control terminal (compatible with LAN C protocol). A custom key and dial allow for more convenient, one-touch access to various functions such as focus or exposure. The Canon XA10 Professional camcorder is available for a suggested price of$1,999.99. For more information, visit www.usa.canon.com. Sony’s PMW-F3 Takes Pro Line Handheld Sony has unveiled the PMW-F3, its first professional handheld digital-production camera with a Super 35mm imager. The F3 camcorder is based on Sony’s XDCam EX workflow and uses Sony’s SxS ExpressCard-based recording media format. Its Super 35mm CMOS imager delivers shallow depth of field with high sensitivity, low noise levels and wide dynamic range. Through the use of an HD-SDI dual-link output for external recording (4:2:2 1080 50/59.94P as standard and RGB 1080 23.98/25/29.97PsF as an option), footage shot with the F3 can be seamlessly intercut with

American Cinematographer


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American Cinematographer - May 2011

Table of Contents for the Digital Edition of American Cinematographer - May 2011

American Cinematographer - May 2011
Contents
Editor’s Note
President’s Desk
Short Takes
Production Slate
Living Out Loud
A Saint and a Sinner
First Dance
Decoding Digital Imagers: Part 1
A Hollywood Affair
Post Focus
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam
Clubhouse News
ASC Close-Up
American Cinematographer - May 2011 - American Cinematographer - May 2011
American Cinematographer - May 2011 - Cover2
American Cinematographer - May 2011 - 1
American Cinematographer - May 2011 - 2
American Cinematographer - May 2011 - Contents
American Cinematographer - May 2011 - 4
American Cinematographer - May 2011 - 5
American Cinematographer - May 2011 - 6
American Cinematographer - May 2011 - 7
American Cinematographer - May 2011 - Editor’s Note
American Cinematographer - May 2011 - 9
American Cinematographer - May 2011 - President’s Desk
American Cinematographer - May 2011 - 11
American Cinematographer - May 2011 - Short Takes
American Cinematographer - May 2011 - 13
American Cinematographer - May 2011 - 14
American Cinematographer - May 2011 - 15
American Cinematographer - May 2011 - 16
American Cinematographer - May 2011 - 17
American Cinematographer - May 2011 - Production Slate
American Cinematographer - May 2011 - 19
American Cinematographer - May 2011 - 20
American Cinematographer - May 2011 - 21
American Cinematographer - May 2011 - 22
American Cinematographer - May 2011 - 23
American Cinematographer - May 2011 - 24
American Cinematographer - May 2011 - 25
American Cinematographer - May 2011 - 26
American Cinematographer - May 2011 - 27
American Cinematographer - May 2011 - Living Out Loud
American Cinematographer - May 2011 - 29
American Cinematographer - May 2011 - 30
American Cinematographer - May 2011 - 31
American Cinematographer - May 2011 - 32
American Cinematographer - May 2011 - 33
American Cinematographer - May 2011 - 34
American Cinematographer - May 2011 - 35
American Cinematographer - May 2011 - 36
American Cinematographer - May 2011 - 37
American Cinematographer - May 2011 - 38
American Cinematographer - May 2011 - 39
American Cinematographer - May 2011 - A Saint and a Sinner
American Cinematographer - May 2011 - 41
American Cinematographer - May 2011 - 42
American Cinematographer - May 2011 - 43
American Cinematographer - May 2011 - 44
American Cinematographer - May 2011 - 45
American Cinematographer - May 2011 - 46
American Cinematographer - May 2011 - 47
American Cinematographer - May 2011 - 48
American Cinematographer - May 2011 - 49
American Cinematographer - May 2011 - 50
American Cinematographer - May 2011 - 51
American Cinematographer - May 2011 - First Dance
American Cinematographer - May 2011 - 53
American Cinematographer - May 2011 - 54
American Cinematographer - May 2011 - 55
American Cinematographer - May 2011 - 56
American Cinematographer - May 2011 - 57
American Cinematographer - May 2011 - 58
American Cinematographer - May 2011 - 59
American Cinematographer - May 2011 - Decoding Digital Imagers: Part 1
American Cinematographer - May 2011 - 61
American Cinematographer - May 2011 - 62
American Cinematographer - May 2011 - 63
American Cinematographer - May 2011 - 64
American Cinematographer - May 2011 - 65
American Cinematographer - May 2011 - 66
American Cinematographer - May 2011 - 67
American Cinematographer - May 2011 - 68
American Cinematographer - May 2011 - A Hollywood Affair
American Cinematographer - May 2011 - 70
American Cinematographer - May 2011 - 71
American Cinematographer - May 2011 - 72
American Cinematographer - May 2011 - 73
American Cinematographer - May 2011 - 74
American Cinematographer - May 2011 - 75
American Cinematographer - May 2011 - 76
American Cinematographer - May 2011 - 77
American Cinematographer - May 2011 - 78
American Cinematographer - May 2011 - 79
American Cinematographer - May 2011 - 80
American Cinematographer - May 2011 - 81
American Cinematographer - May 2011 - Post Focus
American Cinematographer - May 2011 - 83
American Cinematographer - May 2011 - New Products & Services
American Cinematographer - May 2011 - 85
American Cinematographer - May 2011 - 86
American Cinematographer - May 2011 - 87
American Cinematographer - May 2011 - International Marketplace
American Cinematographer - May 2011 - Classified Ads
American Cinematographer - May 2011 - Ad Index
American Cinematographer - May 2011 - 91
American Cinematographer - May 2011 - In Memoriam
American Cinematographer - May 2011 - 93
American Cinematographer - May 2011 - Clubhouse News
American Cinematographer - May 2011 - 95
American Cinematographer - May 2011 - ASC Close-Up
American Cinematographer - May 2011 - Cover3
American Cinematographer - May 2011 - Cover4
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