The title says it all. Includes warm and cool card variations. Details here.

We recently mentioned the new HPX300, an interesting offering from Panasonic that offers a host of useful features and tools in a shoulder-mount camcorder configuration. Zacuto has created a good introductory video on the topic, embedded below. It looks like this camera is now in stock at B&H, with a price point of $8495 USD. Not bad for a camera that offers AVC-Intra, interchangeable lenses, a host of formats and framerates, and 720p/60 overcranking. It’s a unique offering that should spark a lot of interest with those that like the shoulder-mount configuration. In addition to the Zacuto video below, there are also two introduction/walkthrough videos on the HPX300 over at AbelCine’s site.

Introducing the Panasonic HPX300 from Steve Weiss, Zacuto USA on Vimeo.

Cinevate recently unveiled their camera sliders, or what they are calling Pegasus Linear Tracking Systems. A slider is basically a short dolly system for relatively lightweight cameras, and they are generally quicker to setup and easier to use than a full dolly (if you can work within the size and weight limitations). Cinevate is offering two separate Linear Tracking Systems at varying features and price points. One is intended for adapter users and smaller camcorders, the other (the Heavy Lifter) is rated at cameras up to 30lbs. To get users up to speed on what each offers, and some of the tips and tricks, they’ve created a few demonstration videos that really show off the power and extensibility of each system. Check them out at Cinevate’s Video University page, listed under Pegasus Linear Tracking Systems.

We mentioned the ASL Rip Kit recently. The Rip Kit is a complete A/V connection replacement for the Red One camera, including a matching breakout box that can be located up to 50′ away from the camera using a single DVI-I cable connection. It appeared to be a robust solution to a common set of issues and concerns with the Red One. Over at Final Cut User, I ran across a video review of the kit that really shows it’s strengths and explains the full featureset. If you are a Red One owner or shooter, I highly recommend you watch the two video segments below.

Red shooters with another $3800 burning a hole in their pocket may be interested in the RipKit, a breakout box and I/O jack replacement for the Red One. The RipKit fits securely over the right side of the Red, enabling full size connectors for monitoring and a host of other features including audio input switching and additional camera start stop controls. The optional breakout box also includes camera record controls, all the standard A/V monitoring options, and can be mounted on the camera or remotely up to 50′ away with a single DVI-I cable. It’s an interesting solution in a nicely integrated package that may solve some of the complaints I aired recently about the Red’s weak connectors.

Imagineer Systems has updated their popular software tool mocha for After Effects. With mocha v2, users can now:

*Export any resolution, per point variable edge width roto shape data in the mocha shape format
*Export tracking data as After Effects CornerPin with motion blur

mocha for After Effects v2 is compatible with AE CS3 and CS4, and immediately available at imagineersystems.com for $199 ($99 upgrade pricing).

A new tool they are introducing is called mocha shape for After Effects. shape is a plug-in that allows users to “import rotoscoping shape data directly into After Effects from any Imagineer Systems VFX tool.” For users that utilize multiple Imagineer tools, this should streamline workflows and eliminate unnecessary renders. Specific features include:

*The ability to paste any resolution roto shape data from Imagineer’s products to After Effects without rendering
*Variable, per point edge width feathering
*The ability to translate mocha layer names to After Effects compositions;
*High quality rendering
*Various blend modes
*Ability to render shape as cutout, color composite or color cutout

shape is also compatible with After Effects CS3 and CS4, and available at imagineersystems.com for $99.

Panasonic has created some buzz with their announcement of the HPX300, a P2 HD camera in a shouldmount configuration that offers 1920×1080 10-bit, 4:2:2 AVC-Intra recording from three 1/3″ CMOS imagers. It also offers interchangeable lenses, coming standard with 17x HD Fujinon glass, as well as variable framerates and the ability to record in DVCPROHD as well as both 50/100 flavors of AVC-Intra. Videomaker has details.

HD video formats: 1080/59.94i, 1080/29.97P and 1080/23.98P (native 24p/30p), and 720P with variable frames in 23.98pN, 29.97pN and 59.94P. In DVCPRO HD, the camcorder records 1080/59.94i, 1080/29.97P, 1080/23.98P, 1080/23.98pA, 720/59.94P, 720/29.97P, 720/29.97pN and 720/23.98pN. In DVCPRO50/25 and DV, it records 480/59.94i, 480/29.97p, 480/23.98p and 480/23.98pA. The 1080P and 480P signals are recorded with 2:3 pull down (23.98p) or 2:3:3:2 advanced mode (23.98pA). The camera also supports 1080/23.98PsF output (via HD-SDI) for use in high-end movie production. The output of the camera can be set for down conversion or cross-conversion with letterbox, 4:3 crop or squeeze.

B&H is now now has the HPX300 in stock, priced at just under $8500 USD.

Zacuto is also taking preorders on the HPX300, and has created a video demonstrating the new camera. If you are looking for a pre-release peek at this professional solution, look no further than this video.

Introducing the Panasonic HPX300 from Steve Weiss, Zacuto USA on Vimeo.

zzizzl is a new marketplace for content creators that bills itself as the “iTunes for indie creators.” Independent filmmakers can upload their latest masterpiece and sell it in iPod and other portable media player formats. Profits are split 50/50 with the site. More info here.

Cinevate has shown off a sneak peek of their new B4 Relay Lens for 2/3″ cameras. The relay has been in development for literally years now, and appears to be close to release. The unit has been billed as the world’s first multi-format relay, and comes with an estimated price tag of $2500-$2700 USD. The multi-format distinction refers to the relay’s ability to zoom and adjust the image frame for lenses that offer varying frame sizes (for instance, good PL glass vs SLR glass). Here’s an excerpt from Cinevate’s announcement:

“The only question you might have right now is will it work with Brand X adapter? The answer is about 95% likely a yes, assuming you’re using our flip module. The relay lens uses several types of low dispersion glass, exotic coatings and yes, has 100% internal focusing, zooming, and back focus operations. This means it does not breath physically an iota, regardless of whether you’re in SLR (or Vistavision) mode or cine mode. The video should answer any questions and explains also illustrates the nearly 50% loss of FOV that happens with any other relay system when using SLR or Vistavision format lenses.”

Watch the announcement video at Cinevate’s site for all the juicy details. There’s also an announcement thread at Scarletuser with some Q&A for future Red Scarlet shooters.

Via Larry Jordan’s essential monthly newsletter resource, I found this hot tip for quickly dealing with skin imperfections and hot spots. Lancome’s Pure Focus T-Zone Powder Gel can be quickly and simply applied to the face and forehead of on-camera talent to fix common issues. This is particularly necessary when shooting male interview subjects, who rarely are wearing or considered wearing makeup (assuming there is no budget for a makeup artist). A bottle of the makeup will run about $25-$30, and will reportedly last for many subject applications.

At NAB 2008, we interviewed the guys at Matrox about their new flagship product, the MXO2. If you aren’t sure of the specifics of this hardware I/O solution, or simply want to understand What it Actually Does, I’d recommend reading the excellent FAQ that Videoguys has posted here.

Ken Stone also recently published a full MXO2 review here.

TechThoughts has noted that Apple slipped in a little upgrade to the $999 13″ unibody MacBook: a dedicated nVidia graphics card, and FW400. This after the model launched with integrated graphics and USB-only connectivity. Either Apple is listening to users complaints, or perhaps lackluster sales have driven them to make the change. Either way, it’s a good thing for video editors on the road who don’t want to lug a huge notebook.

Redrock Micro has announced the long-anticipated upgrade to their flagship product, the M2 Cinema Lens Adapter. With the new M2 Encore, Redrock claims just a 1/2 stop light loss, new image flip unit, collimating lens mount, completely redesigned interior and optics for edge sharpness, and an improved spinning ground glass allowing shutter speeds upwards of 1/500 without grain.

These are significant improvements to the venerable M2 system. For starters, light loss…a half-stop of loss is currently the market standard, so this was a necessary improvement. The collimating lens mount will also allow users to swap lens mounts without opening up the unit. The latest batch of HD camcorders has introduced optics issues for adapter makers, and the M2e’s improved internals are said to address this as well as improve sharpness overall. The new M2 Encore will start at $995, with complete packages running $1995.

In addition to the new M2e, Redrock has also officially announced their improved microFollowFocus V2 unit with the 19mm rod adapter option, new camera cage kits, and an active lens mount for Canon EF lenses called Live Lens. Previously, 35mm adapter users could not fully utilize Canon EF lenses due to the fact that aperture functions are controlled electronically. Live Lens mates to Canon glass and provides the necessary controls to adjust the aperture on these lenses, using hard buttons and a built-in LCD screen. An upgrade port is also included on the unit, to facilitate future features and updates. So maybe we’ll eventually see autofocus on a 35mm adapter rig?

I’ve been told that the microFollowFocus v2 will be the same price @ $545, and they will also offer an upgrade for existing v1 users at just $295. The 19mm rod adapter option is $245, or buy 15mm and 19mm together for $775. Pricing on the other new products including the LiveLens is forthcoming. We’ll keep you updated.

Just a quick post to note that B&H has enabled pre-orders for the new 35Mbps GY-HM100U camcorder from JVC. The camera is listed at $3999 USD, and pre-orders placed now will ship out when stock arrives.

Today Letus officially launches their 2/3″ B4 relay mount options for the Letus35 line of lens adapters. Letus states they are 1/2 stop more light efficient than the P+S relay, and can be used to mate an Extreme, Elite, or Ultimate adapter directly to the camera body.

This option now allows you to use the adapter as a lens, instead of shooting through the stock camera lens (obviously you’ll need a camcorder that has a removable lens). It should shorten up camera rigs, reduce weight, and simplify configuration. I imagine that some image quality improvement will be seen as well. The removable-lens capable $8,300 XDCAM EX3 should perform nicely with this configuration (when the 1/2″ version is released, see comments).

There are two relay lens modules available, a 12-lens group Pro Relay option listing at $5999 USD, and a $3499 9-lens group Compact Relay version. Both are pictured above for comparison. I’ve been told that Letus is in full production and are ready for orders. We look forward to hearing the first user reports from the field!

UPDATE: The Letus 2/3 B4 adapter is now available for preorder at Zacuto’s online store. And given that they are the pros in the know on gear like this, I’m sure they’d be happy to answer pre-sales support questions.