The Korean Advertising Yearbook 2009 - Part 3: Analysis of the Advertising Market: Below the Line (BTL)
Globos
Revisa nuestra página de Globos e Inflables Gigantes para promoción BTL
http://goo.gl/FCtUX
31 mar 2011
Globos e Inflables Gigantes de Helio y Aire frio para Promocion BTL
Globos Revisa nuestra página de Globos e Inflables Gigantes para promoción BTL http://goo.gl/FCtUX
The Korean Advertising Yearbook 2009 - Part 3: Analysis of the Advertising Market: Below the Line (BTL)
Globos
Revisa nuestra página de Globos e Inflables Gigantes para promoción BTL
http://goo.gl/FCtUX
The Korean Advertising Yearbook 2009 - Part 3: Analysis of the Advertising Market: Below the Line (BTL)
Globos
Revisa nuestra página de Globos e Inflables Gigantes para promoción BTL
http://goo.gl/FCtUX
30 mar 2011
29 mar 2011
28 mar 2011
La economía mexicana es la onceava mayor del mundo según estimaciones del Banco Mundial #MexicoLider
MEXICO DF, mar 28 (Reuters) - La economía mexicana es la onceava mayor del mundo según estimaciones del Banco Mundial y se espera que su Producto Interno Bruto (PIB) crezca alrededor de un 4 por ciento este año, tras una expansión del 5.5 por ciento en el 2010.
México ha quedado rezagado de otras grandes economías de América Latina en la última década, mostrando un crecimiento económico débil, así como la ausencia de grandes reformas a leyes fiscales, laborales y del sector energético.
Tras caer en una profunda recesión en el 2008, la economía se recuperó a finales del 2010 impulsada principalmente por las exportaciones de manufactureras. Sin embargo indicadores de empleo y de confianza del consumidor no han regresado a los niveles previos a la recesión.
INFLACION - En meses recientes, México ha disfrutado de mejores perspectivas económicas y una inflación bajo control. En febrero, la inflación a tasa anual se desaceleró a un 3.57 por ciento, la más baja en meses.
El banco central tiene una meta de una inflación del 3 por ciento más/menos 1 punto porcentual. En su más reciente encuesta de expectativas entre analistas privados, el banco central reportó pronósticos de una inflación del 3.94 por ciento para este año y del 3.79 por ciento para el 2012.
TIPO DE CAMBIO - El peso mexicano se ha fortalecido junto con las monedas latinoamericanas apoyado en inversionistas extranjeros que han comprado bonos y otros activos financieros denominados en moneda local, que ofrecen rendimientos más atractivos que los de naciones desarrolladas.
El peso MXN= se ha estado negociando en máximos desde la crisis de Lehman Brothers en septiembre del 2008. Funcionarios han dicho que no están preocupados por el nivel del peso y muchos analistas esperan un mayor fortalecimiento de la moneda a lo largo del año. Continuación...
via mx.reuters.com
Las nuevas campañas politicas con #RedesSociales #MediaTraining
MORELIA, Mich., 27 de marzo de 2011.-Las campañas políticas evolucionan al ritmo como lo hacen los fenómenos sociales y políticos y éstos a su vez están influenciados en gran medida por el desarrollo de las tecnologías. A través del tiempo se han experimentado cambios profundos en la manera de cómo la gente se comunica, sin querer hacer un recuento exhaustivo, diremos que uno de ellos se presentó con la aparición de la televisión en la década de los 60s. La televisión vino a transformar drásticamente la forma de comunicarse, de informarse, de entretener a la gente, desde luego que esto afectó a la manera de hacer política. A partir del uso generalizado de la TV, la mercadotecnia dio un giro significativo, en los procesos de venta de productos y servicios de contenido de valor significativo se utilizaron los spots, éstos surgieron como el medio más socorrido para la promoción y las ventas, se crearon los primeros canales y las grandes cadenas que llegaron a convertirse en entidades con un poder real, económico y también de influencia política.
Esto ha sucedido en todos los países, con los matices propios del grado de desarrollo y matices propios, pero en general estos fenómenos han marcado la forma de comunicarse de la sociedad, del gobierno y en la manera de hacer política.
Posteriormente con el desarrollo de la informática y la instalación de la humanidad en la era de la información, impulsado por la generalización del uso de las computadoras, con la disponibilidad del software al alcance de cualquier usuario, sin necesidad de tener grandes conocimientos de informática, les permitió manejar grandes volúmenes de datos, para diferentes usos, desde información para desarrollar el trabajo cotidiano, como medio de entretenimiento, en los procesos de comunicación para efectos comerciales y de mercadotecnia, así como el los campos científicos y en general del conocimiento.
La tecnología acercó la información a todos, o a casi todos, porque si bien es cierto que ésta se encuentra disponible para quién tiene acceso a éstas tecnologías, también es cierto que no todos tienen la misma facilidad de acceso. Hay quienes aseguran que este es un factor que tiende a acentuar las diferencias entre países, así como entre individuos, lo que es todo un tema, que por si solo requiere una atención especial.
Pero lo que si es un hecho incontrovertible y evidente para todos, es que esto cambió la forma de hacer política. Las campañas políticas tienen un enfoque de precisión, ante la facilidad de manejar una enorme cantidad de información sobre el comportamiento del ciudadano en términos de sus preferencias electorales, pero sobre todo en sus necesidades y aspiraciones en función de su perfil sociodemográfico, aunado a la posibilidad de ubicarlo geográficamente, y poder inferir comportamientos homogéneos por segmentos, lugar de residencia y en algunos casos conocer las preferencias individuales, mediante el empleo de CRM´s, que no es otra cosa más que software que permite manejar la relación con el ciudadano y los famosos “Contact Center” o centros de contacto, desde donde se opera el herramental antes mencionado.
Todas estas herramientas tecnológicas, junto con conceptos desarrollados que se enfocan a conocer mejor los hábitos de consumo, preferencias y necesidades del individuo, que para quienes han sabido manejarlo, interpretarlo y sobre todo llevarlo a la práctica, ha significado una gran ventaja. Nuevamente, el conocimiento marca la diferencia.
El enfoque de precisión en las campañas políticas se llevó a la práctica a fines de los noventas y hasta poco después de los mediados de la década pasada. Por cierto ya se utilizaba el Internet en los procesos de comunicación y de transmisión de datos.
Pero fue hasta el año 2008, con la campaña de Barack Obama cuando se dio un giro a la forma de hacer campañas, aparece el concepto de las llamadas Campañas Interactivas o Campañas 2.0. Dicen los enterados que después de ese año la forma de hacer política y gobierno no volverá a ser la misma, por qué? Revisemos los cambios que se presentaron y modificaron el panorama de la comunicación individual y de grupos sociales y desde luego la nueva democracia.
Algunos datos que nos permitirán entender el giro tan drástico que le imprimió Obama y sus estrategas a la campaña presidencial del 2008:
El acto simbólico de los candidatos a la presidencia implicaba una visita casi obligatoria e las oficinas del New York Times, con el propósito de alcanzar el apoyo a su campaña. Obama sustituyó esta visita por un evento con la comunidad relacionada con las Tecnologías de Información y Comunicaciones (TIC’s) en Silicon Valley, nada menos que en las oficinas de Google, desdeñando al influyente medio.
Su campaña tuvo un enfoque hacia los usuarios de las nuevas tecnologías, contando con el apoyo de la comunidad de “cerebros” que forman esa industria
Participó en más de 120 portales entre los propios, creados para el proceso electoral interno y constitucional, así como en otros sitios en los que intervino
Su actividad en la Web se manifiesta con estos datos; obtuvo en Facebook 2 millones de amigos, el contenido creado en la campaña de Obama el fue visto 14.5 millones de horas, al concluir la campaña Obama contaba con 13 millones de correos electrónicos
El envío de 10 millones de SMS entre los que emitió y los reenvíos para anunciar a su compañero de fórmula, el Vicepresidente, muestr la importancia que dio a este medio como eje fundamental de su campaña.
Pero tal vez lo más importante es que los mensajes no fueron en un solo sentido, por el contrario, el trafico de comunicación se dio en las dos direcciones, obtuvo el apoyo y la participación de la sociedad en un tiempo breve, en forma abrumadora y de un público que generalmente es apático a participar en temas políticos.
Ahora nos queda claro la importancia que tienen las redes sociales, lo hemos comprobado en recientes acontecimientos en diversas partes del mundo. Es indudable el alcance de estas nuevas formas de comunicación, pero sobre todo de participación. El reto es saber utilizarlas, contar con las herramientas tecnológicas y conceptuales, los expertos que potencialicen los instrumentos a favor de las campañas y las causas de los candidatos.
Para quienes cuestionan la validez de estos conceptos e instrumentos en las campañas mexicanas comparto estos datos; se estima que hay más de 35 millones de internautas en el país, 28% de los cuales viven en zonas urbanas; 55% son hombres y 45 % mujeres; Por nivel socioeconómico se componen de la siguiente manera, el 39% son de nivel socioeconómico “A, B y C+” (desde 20 a mas de 100 salarios mínimos, SM), El 19 % es de nivel C (entre 6 y 20 SM), el 29% es de nivel “D+” (entre 3 y 6 SM) y el 12% de niveles “D y E” (menos de 3 SM).
El tema es muy amplio, no es tan simple, tampoco quiero decir que este enfoque substituye a los tradicionales de las campañas mexicanas, pero sin duda será fundamental en el rumbo que tomen las contiendas. Desde luego que cabe la máxima mexicana que dice que “el hábito no hace al monje”, pero le ayuda bastante, por supuesto que debe haber sintonía entre contenidos, perfiles, historias, mensajes e instrumentos.
Sabemos que ningún programa, ninguna acción, ningún evento o acierto es suficiente por si solo para ganar, pero la suma de todos, sin duda, son factores que construyen el triunfo.
Mail: leomol09@gmail.com
Blog: leopoldo-molina.blogspot.com
via quadratin.com.mx
26 mar 2011
Video Corporativo Videos para Empresas para #Promocion #Display #BTL #Capacitacion #Entrenamiento
via video.com.mx
Menú de servicios y precios videos corporativos
Realizamos todos nuestros programas en formato de video de alta definición Full HD 1920 x 1080 HDV- XDCAM- CineAlta EX -AVCHD & DVCAM Digital
Adicionalmente te damos consultoría y capacitación en la venta y renta de nuestros equipos nuevos y seminuevos
En todos los casos siempre tienes la posibilidad de hacer tu edición en definición estándar SD formato 4:3 o Widescreen 16:9. para DVD.
Si lo prefieres tambien podemos editar en Alta Definición para salir a Cine, Web de Internet o Blue-Ray
Creamos programas corporativos de excelencia, si deseas realizar un programa con nosotros, te sugerimos leer con atención esta pagina, contiene toda la información para que puedas decidir tu proyecto de acuerdo a tus necesidades y presupuestos, con mucho gusto atenderemos tus dudas.
Nuestros programas quedan listos para su publicación en TV , Internet, celulares, iPODs y multicopiado en DVD.
Entregamos masters que sirven para Televisión Broadcast y Cable, publicación para web y YouTube, Windows Media, Quicktime y multimedia flash para usarse en PowerPoint, Video para Ipod, celulares y PDA.
http://www.video.com.mx/corporate_video.htm
24 mar 2011
Si eres capaz de hacer un corto en 36 horas te esperamos en Logroño
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23 mar 2011
SECTURDF | Primer Concurso de Fotografía Turística de la Ciudad de México 2011 #MexicoLider
Bienvenido!
El Gobierno del Distrito Federal a través de la Secretaría de Turismo, con el apoyo de instituciones, asociaciones y empresas del sector turístico de la Ciudad de México y de la República Mexicana invita a los fotógrafos de todo el mundo, tanto aficionados como profesionales, empresas y asociaciones del ramo turístico, escuelas de turismo, cine, fotografía, diseño, mercadotecnia, publicidad y público en general interesados en documentar imágenes alusivas a la actividad turística de la Ciudad de México al PRIMER CONCURSO DE FOTOGRAFÍA TURÍSTICA DE LA CIUDAD DE MÉXICO 2011 "LA CIUDAD DESDE TU MIRADA".
Este concurso tiene como objetivo reunir las mejores imágenes que representen la riqueza cultural, patrimonial, turística y visual de la Ciudad de México realizadas a partir del primero de enero de 2010 hasta la fecha de cierre del concurso y difundir los atractivos y sitios turísticos de la ciudad y sus paisajes, su gente, su cultura, sus costumbres y tradiciones, su arquitectura, gastronomía, pudiendo implicar modalidades como actividades al aire libre, recreación, paseos de campo, camping y eventos culturales como ferias, fiestas populares y religiosas.
Si ya estás inscrito, ingresa a tu panel del concurso dando clic aquí
DVuser: Sony NEX-FS100E review by Nigel Cooper
Sony NEX-FS100E review by Nigel Cooper
Welcome to the worlds first official full review of Sony�s all-new NEX-FS100E film-like HD camcorder. On Monday 21st March 2011 I took delivery of a Sony NEX-FS100E complete with lens and accessories, which I got to spend a few days with before Sony UK had it collected from me in Cambridgeshire.
I must point out that the FS100E that Sony UK sent me was a pre-production model and not the 100% finished product. There are several issues that I had with the camera; mainly build quality related. Whether or not these get fixed by the time they start rolling off the production line remains to be seen. From what I can see the FS100 I had appeared to be about as complete as it could get.
The cost of the FS100E will have a street price of approximately �5,000 for the body only. The FS100E is the model without a lens. The FS100EK (K standing for Kit) comes with a Sony E-mount 18-200mm F3.5-6.3 lens and will have an approximate street price of �5,500. The FS100E will be available to buy summer 2011 according to Sony UK. Sony are claiming that the target market for the FS100E is Education and Corporate, Event/Wedding and low-budget pop promo and documentary, but I�m sure it will find its way into other areas of video production too; especially the independent low budget filmmaker because of its large sensor and interchangeable lens offerings.
After unpacking it, charging the battery and having a general look over the new FS100 I first made some adjustments in the menus to try to achieve the best possible picture by making some small tweaks to the picture profile setting and reducing the edge sharpness to -4. I then filmed my trusty chroma du monde resolution and colour charts to see how the camera performed in a scientific environment, before going out and getting down to some serious filming in Cambridgeshire.
Here, I will share with you my findings on the NEX-FS100 in the worlds first full review of this exciting new film-like camcorder.
Since Sony launched the more expensive and slightly larger bodied F3, budget conscious people have been shouting for something a little more affordable from Sony. Panasonic have had a good head start with their hugely popular AF101 film-like HD camcorder, which has been out since December 2010. Now Sony is about to enter the prosumer arena with their very own large sensor film-like solid-state HD camcorder; enter the NEX-FS100E.
FIRST IMPRESSIONS
After taking the FS100 out of its box, my first impressions involved feeling a tad perplexed as I looked at the various pieces that make up the FS100�s modular system/design. The parts consist of the body itself, a hand grip that is attached via a single thumb screw, a mic holder/handle which fastens onto the front hot-shoe then is locked in place with a knurled screw, another mic holder that slots into the first one to allow the mic to be positioned further away and off to one side of the body, a clip on viewfinder that clips directly onto the LCD screen, then of course a lens. In this case Sony sent me the Kit E-mount 18-200mm F3.5-6.3. This lens was hardly ideal as it is slower than a 1960�s London double-decker bus and I�m sure it doesn�t have the optical quality either; even if it does retail at around �700, but it was all I had so I had to make do. Assembling the various parts is fairly straightforward. The unit I had was a pre-production unit so it came with no instruction manual, I didn�t really need one either as assembling the camcorder is fairly self-explanatory, so too is Sony�s familiar menu system and picture profiles; of which there are six to chose from. The modular design of the FS100 allows it to be stripped down into a relatively small box.
BUILD QUALITY
I�m something of a fussy bugger when it comes to build quality, so the first thing I did was have a good check around the FS100 to get a feel for it�s overall build quality. After fitting all the parts together and playing around in the menu�s, fitting/removing the lens, messing with the LCD screen and generally pushing buttons and turning dials and flipping open socket covers etc, I soon got a feel for the overall build quality of the FS100. Plastic, ill-fitting fixtures and fittings, finicky switches and buttons, cheap feeling dials are just some of the things that spring to mind. Overall it did not inspire much confidence in the build quality department. It is far worse than the EX1 or any other Sony camcorder that came before it. I got the impression that if I dropped the FS100, I would be left with several bits of shattered plastic parts. It certainly doesn�t feel like a product that costs nearly �6,000.The side grip barely stays on the actual body, even after tightening up the screw as tight as I dare, it kind of wobbles about and feels like it is coming lose. The same goes for the top handle/mic holder, it fastens loosely onto the cold shoe, then is secured with a single screw. Even after tightening it right up, it wobbles side to side a few millimetres and after shooting with it for a few hours I found it started to unscrew itself and I had to tighten it up again; if left, it would eventually fall from your hand onto the floor.
SWITCH LAYOUT & DESIGN
Looking around the FS100�s body, the switches, dials and numerous buttons are laid out relatively neatly. But they are just too small, ridiculously small in fact. Why is it that every time Sony brings out a new camcorder they strive to make the buttons and switches even smaller? I kid you not, the white-balance set button is so small I had to use a ballpoint pen to engage it, and my fingers are relatively slim. If you own an iPhone, you will now have a use for the sim-card removing pin. The minute size of some of the other buttons defies belief they are so small. Most of the buttons are also very vague in �feel�. You don�t get any kind of click type feel for feedback that the buttons have actually been depressed; you need to look at the LCD screen for some sort of visual feedback. I hated using this camera because of this; and other reasons too.USABILITY
It was only when I got out in the car and drove to a few locations and actually put the FS100 on a tripod and started shooting that I could start to gauge how the camera handles; here I�m talking about the form-factor and ergonomics etc.The mic holder that fixes directly onto the camcorders cold shoe also doubles as a handle. I personally found it to be too small to be able to attain any kind of purchase, only managing to get two fingers at the rear part, and another two under the cold shoe that forms part of the handle. This barely qualifies as a handle and it could have been better thought out. There are various mounting points and threads on the FS100 body, as well as on the mic holder/handle. I also found the side grip to be very poor from an ergonomics standpoint. The angle is all wrong. Although you can rotate the grip into any position, I found that having it pointed almost vertically was as comfortable as I could make it to relieve my wrist from stress, but at this angle if you have an on-board mic plugged into the side XLR socket, the XLR jack digs into the top of your wrist. This only acts as a dull aching reminder of how poorly thought out this grip and socket positions are.
At first glance the LCD screen position seems logical enough, until you go to use the camcorder that is. Fine if you have it on a tripod, but for hand-held work things get a little more complicated. Also, Sony�s optional plastic shoulder support system (VCT-SP2BP) does nothing to help; it is more an appendage than an aid. It is almost impossible to hold the camcorder by the top handle/mic holder and have a decent view of the scene via the LCD screen as your hand and wrist simply obscure the a portion of the screen and you can�t angle the screen forward enough because the handle/mic holder is in the way; how frustrating.
I spent most of my time shooting with the FS100 mounted on a Sachtler FSB6 tripod, where the camcorder feels most comfortable. The LCD screen can be turned sideways, which is handy if you are standing slightly to one side of the tripod as you can angle it directly towards you. The image quality of the LCD is good enough for general use, but in bright sunlight viewing becomes a bit more difficult. In bright conditions attaching the large viewfinder/eyepiece helps enormously. It is attached via two spring-loaded clips directly to the LCD screen. With this viewfinder attached, movement of the LCD/viewefinder is a bit more restricted, but this doesn�t really matter for general shooting. If you have the FS100 low to the ground you can�t tilt the viewfinder up as much as you would need to as the mic/handle restricts its movement.
Overall, on paper and in the brochure the FS100 looks pretty cool, but once you start using it, the dream that the brochure pictures and descriptions promise suddenly turn into a rather unpleasant nightmare. I found using the FS100 to be a rather lacklustre and frustrating experience. The FS100 is just as frustrating to operate as Canon�s EOS 5D MK2; only for a different set of reasons.
FORMATS
The FS100 records in the usual formats of 1080/50p, 25p, 1080/50i, 1280x720/50p, 720x480/50i with audio available as high quality Linear PCM (2-channel) or Dolby audio. All are recorded to the AVCHD codec up to 28 Mbps if you decide to record to the Memory Stick media in-camera.Full list of recording frame rates is as follows:
HD PS (28Mbps) 1920x1080/50p, HD FX (24Mbps) 1920x1080/50i, HD FH (17Mbps) 1920x1080/50i, HD HQ (9Mbps) 1440x1080/50i, HD LP (5Mbps) 1440x1080/50i, HD FX (24Mbps) 1920x1080/25p, HD FH (17Mbps) 1920x1080/25p, HD FX (24Mbps) 1280x720/50p, HD FH (17Mbps) 1280x720/50p, SD/STD HQ (9Mbps) 720x576/50i
RECORDING MEDIA
The FS100 records to either Memory Stick or SD/HC (class 4 or higher) and SD/XC cards, or Sony�s HXR-FMU128 flash memory recorder (optional). Or of course third party recording devices that can be connected via the HDMI output. AJA�s Ki Pro Mini is ideal for getting better image quality out of the FS100 if you are not a fan of the AVCHD codec. Recording with a 32GB memory card will give you 170 minutes recording time in AVCHD 24M (FX) mode, while the HXR-FMU128 (128GB if you haven�t guessed) will give you 700 minutes. It is possible to record simultaneously to the HXR-FMU128 and cards in the camcorder. For those who didn�t know, Sony also make SD/HC memory cards as well as MS cards. They make a 32GB SD/HC card; model number SF-32N4. Compatible Sony MS cards are: Memory Stick PRO Duo (Mark2), Memory Stick PRO-HG Duo and Memory Stick PRO-HG Duo HX.
LENSES
The FS100 has an E-Mount for its lenses, this is the same lens mount as Sony�s NEX-VG10. But it can take Sony�s own E and A series Alpha lenses along with many third party lenses with the use of optional adaptors from the likes of UK engineer Mike Tapa, see www.mtfservices.com for more details about lens adaptors. MTF adaptors are available for PL mount, Nikon and Canon FD, adding huge lens options for the FS100.Current Sony E-Mount lenses include: 16mm F2.8, 18-55 F3.5-5.6 and an 18-200 F3.5-6.3. Not exactly fast by any means, but you can use other lenses from other manufacturers with an adaptor. Sony are brining out some more lenses for this camera during the course of 2011, these will include a Zeiss 24mm F2, 30mm F3.5 Macro, 40mm F2 and a 55-210.
You can use Sony A-mount lenses with a Sony LA-EA1 adaptor; this retains all electronic functions of the lens. There are currently about 30 A-mount Sony lenses to choose from. Add to this the ten Sony G Lens/Carl Zeiss Lenses and there is a huge range of optical options for the FS100.
FEATURES
The FS100 has all the usual features that you would expect from a HD solid-state camcorder of this price range (approximate street price is expected to be around �5,000 without lens), plus a few other neat features as well. The FS100 can record slow and quick motion at selectable frame-rates of: 50fps, 25, 12, 6, 3, 2 and 1fps. So when recording at 1080/25p with a frame-rate set at 50fps, images are recorded at 2x slow motion i.e. half speed. However, recording in slow or quick motion simultaneously to card and the flash drive is not possible. It can also record 1080/50p, but you will need something like a Sony PS3 that is capable of playing back 10080/50p footage, unless you play it back directly from the FS100 camcorder un-edited of course. Your display must be 1080/50P compatible also; Sony�s consumer Bravia range will fit the bill perfectly.
The FS100, like Sony�s NX5, also has a built-in GPS system that puts meta-data into with the clips to let you know exactly where you where when you shot the clip. Like a regular Sat-Nav, Sony�s GPS system is accurate to about 20 feet. Very handy if you are shooting a documentary and need to remember where you where when you shot certain clips.
The FS100 features a Histogram display for checking brightness levels, but it also has the usual Zebra function too. Focus can also be assisted with peaking assisted by either white, red or yellow colours, which can be set to high, medium or low levels. There is also a 2x expanded focus assist.
Sony have fitted a little hook onto the FS100 for focus pullers to attach their tape measures. But this looks like something of an an afterthought as focus pullers will struggle to get to it as the on-camera mic is in the way and prevents access from the top and the lens is in the way from the bottom. Grrrrrr. Of course you can reverse the mic holder and have the mic on the other side of the camcorder, but then the mic cable will have to take a bus ride around the left side and back of the camcorder, making a quick stop off at the battery compartment before arriving on the right side of the camera at the XLR socket. Sony would have been better off spending less time concentrating on the position of the �Exmor Super 35 CMOS� logo and more time on the location of the focus pullers hook, which should have been positioned right where the Exmor logo is.
I�m surprised that the FS100 has no built in ND filter wheel either, not even a switch like on the EX1; nothing. This is a big negative considering that this camera is supposed to be all about depth-of-field control. We all know that to control depth-of-field you need a lot more than just an aperture ring, or aperture control with a fast lens, when you open up the lens and the exposure burns out hotter than the sun, what do you call upon to compensate; exactly, the ND filter wheel. Sony tell me that they could not fit an ND filter wheel due to the very short flange-back, there is simply no room for an ND filter wheel to go in front of the sensor. The advantage to this short flange-back is it allows a huge range of lenses with the correct field-of-view, but the dissadvange is that you'll need to buy a matte box with ND filters. So with the FS100 you will have nice shallow depth-of-field, but you won�t be able to correct it with shutter speeds as this is simply a big no-no. Better buy that matte box and a stack of glass 4x4 ND filters in various stops if you �truly� want to control depth-of-field.
IMAGE QUALITY
Now for the part you have all been waiting for. You can put very high quality glass on the front the FS100 and as it has a HDMI output, you can also up the quality even more by attaching a superior external recording device such as an AJA Ki Pro Mini for example; this way you can bypass the FS100�s AVCHD codec and processing system; vital if you are a serious independent movie filmmaker. My first test was to film my trusty chroma du monde resolution and colour charts to get an idea of the kind of resolution the FS100 can throw out. Then, more importantly I went out and about in Cambridgeshire filming swans, buildings, people and other general shots both moving and locked off to get an idea of image quality and general characteristics of the FS100.The resolution chart showed the FS100 to produce about 780 lines, which is fine and more than enough for most applications. The image on the chart showed the FS100 to be relatively aliasing-free and pretty clean overall. There is some visible aliasing, but not as much as Panasonic�s AF101. I tried shooting the chart with the FS100�s detail levels set at 0, -4 and -6 as detail can often manifest itself on resolution charts and make things harder to read. The detail level didn�t have too much effect on the readings, but -4 is a good starting point for a nice clean image. With the FS100 locked off, aliasing is minimal on the chart, but gently panning across it and suddenly the aliasing springs into life; as to be expected on a large single chip camcorder.
Out and about in Cambridgeshire I filmed swans on the water and grass, close up and medium shots of plants and foliage, cars, gentle panning shots across buildings and people�s faces. Aliasing is not really evident in regular shooting like this and there were certainly no signs of serious aliasing on the brickwork of buildings as I panned across them. The footage looked nice and clean and quite natural; people�s skin tones looked very natural. Overall I really liked the look of the footage shot on the FS100. Indoors I shot some oranges and apples as the texture of fruit can be revealing; the FS100 looks really impressive here.
INPUTS & OUTPUTS
The first thing to note about the FS100 is that there is no HD/SDI output, but fear not, there is a HDMI output that can output 4:2:2 colour 8-bit to an external recording device. This HDMI output also allows embedded timecode. For the record, the FS100's HDMI has an 8-bit output; even though Panasonic's AF101 has a proper HD/SDI output, it too is 8-bit and not 10-bit. I personally don't like HDMI outputs on camcorders for use with external recording devices as they are consumer-based and not robust enough for professional video applications. A HDMI lead should come out of the back of your television where it won't ever be moved. Having a HDMI cable coming out the back of a camcorder and into a bolt-on recorder is too risky for my liking as the cable can get knocked or just come out. A HD/SID BNC-type socket keeps the cable locked via bayonet twist into place so there is no danger of it ever coming out. Other inputs/outputs include Component, Composite, USB, 3.5 stereo Headphone, 2x XLR, Remote, FMU interface and of course a single card slot. For such a large camcorder I�m surprised there are not two card slots like the Panasonic.HXR-FMU128 FLASH MEMORY RECORDER
The FS100 can record to Sony Memory Sticks, but you can also attach Sony�s HXR-FMU128 flash memory recorder. This allows up to 10 hours of non-stop recording. The HXR-FMU128 cost �720 inc vat.TECHNICAL STUFF
If you didn�t already know, the FS100 houses a single Exmor Super 35mm CMOS sensor, which is the same one that is used in Sony�s higher end F3 camcorder. This Exmore Super35 CMOS sensor has approximately 3,530,000 pixels, with 3,370,000 effective pixels when recording pictures in 16:9 mode. This sensor allows excellent depth-of-field control, great low-light performance (with fast lenses of course), good low noise level and a wide dynamic range. The weight of the FS100 is 1.04 kg body only, or 2.66 kg with F770 battery, kit lens, eye finder and grip.SONY FS100 vs PANASONIC AF101
There is absolutely no doubt that the Sony FS100 is aimed at the same market as Panasonic�s AF101. So how do the two camcorders compare in a head-to-head?From a build quality point of view, the Panasonic AF101 is the clear winner. The AF101 just feels a lot tougher and more solid. The way the top and side handles fit onto the AF101 via both cold shoe and double screws is so much more secure than the FS100, which feels a little wobbly and feeble in comparison.
The switches on the AF101 are chunkier with a more positive �click� when used. The Sony in comparison is somewhat vague with its switch operation. The FS100�s switches are also way smaller and more finicky to operate; especially the white-balance button; I had to use the tip of a ball-point pen to engage it.
The AF101 balances better when hand-held, be it via the top handle, or side grip. The AF101 just has a nicer �feel� to it all around in comparison to the FS100, which is a bit higgledy-piggledy and flimsy in comparison; it�s kind of like �the camcorder that Jack built�. The fixtures and fittings of the AF101 are right up to standard at this price range; the Sony�s are not.
The Panasonic AF101 also has lots of features and functions that are a necessity to the serious filmmaker, such as HD/SDI out, a decent ND filter wheel, two card slots, an LCD screen and a separate electronic viewfinder, to name a few.
So does the Sony have anything over the Panasonic? Well the imager is a tad larger. The AF101 has a micro 4/3rd image sensor, while the Sony has a Super 35mm sensor that is 10% larger. This 10% only gives you marginally more control over depth-of-field, but nothing really noticeable. For the Tech-Heads, the FS100 sensor is 23.4x13.2mm, while the AF101 sensor is 17,13mm. Both FS100 and AF101 sensors use CMOS technology.
RESOLUTION
The Sony FS100 managed to resolve approximately 780 lines resolution with a little bit of visible aliasing; but overall a nice clean image. The Panasonic AF101 manages to resolve approximately 680 lines maximum resolution with a bit more visible aliasing in the image compared to the Sony. The Panasonic is not as clean as the Sony with regard to aliasing. Having said that, this test was done filming a chroma de monde resolution chart in a somewhat scientific and technical environment, in the real world aliasing is much harder to see and from the footage I personally have shot on the Panasonic AF101 there is nothing there worth mentioning when shooting general footage.TEST SHOTS
Here are three grabs taken off the timeline in Final Cut Pro. Click on each one to open a full 1920x1080 resolution version in a new window. The shot of the cafe in the park was grabbed from the timeline mid-pan at a moderate speed. The shot of the fruit was a locked off shot and the image of the swan was while gently tracking the swan. In all instances the FS100 was mounted on a Sachtler FSB6 tripod.
The shot of the resolution chart was locked off (obviously) and filmed with the Kit Sony E-mount 18-200mm F3.5-6.3 lens at the mid-point aperture and zoomed in approximately half way. The resolution chart shows the FS100 to be resolving approximately 780 lines with minimal aliasing. All recordings where done to a card using the FS100's AVCHD codec.
CONCLUSION
All-in-all, the FS100 feels like a very rushed camcorder. The ergonomics are terrible, the fixtures and fittings are pretty much the same, the switches, dials and knobs are too small and they feel horribly plasticky with a vague feel i.e. you don�t really know if you have actually pressed a button; you need LCD menu feedback to confirm. The hand-grip on the side wobbles, even when tightened up, so to does the top handle/mic holder, which feels like it is hanging on by its fingernails. Everything about this camcorder is just so awfully wrong. Sony had the perfect chance to give Panasonic a run for their money, but the FS100 is not the camcorder to do it, in my opinion. Panasonic�s AF101 is a clear winner over the Sony FS100 in terms of build quality, usability, functionality and features. Sure it lags slightly behind in raw resolution and there is a tad more aliasing, but the AF101 is about �1,500 cheaper and generally a much nicer camera to work with and it has none of the frustrations of the FS100. The Panasonic AF101 wins by a country mile and it would be my choice for any kind of work that required a large sensor and the ability to have a lot of control over depth-of-field.There are just too many things missing from the FS100, no HD/SDI output, no ND filter wheel, only one card slot. Its like Sony have taken the F3 and stripped it of any worthwhile features and functions to keep it well away from the F3�s market. The FS100 is stripped of all the sensible functionality a cameraman actually needs. Sony�s old VX1000 even had a built in ND filter switch and that camera is from the dark ages in the grand scheme of video camcorder technology. I really wanted the FS100 to be a great little camcorder, but it is just not to be. For me, the FS100 is a huge let down. The only thing it has going for it is image quality, which is marginally better than the AF101, but still not as good as Sony�s own EX1/3.
�2011 Nigel Cooper
Company: Sony
Product: Film-like HD solid-state camcorder
Model: NEX-FS100E
Website: http://www.sonybiz.net
Price: �5995.00
Reviewed by: Nigel Cooper
Review Date: 21-03-2011
Rating:
via dvuser.co.uk
Sony NXCAM Super35 « Film and Digital Times: News
What can we say about Sony’s new NEX-FS100U NXCAM Super35? How about “best design of a digital camera this year in a tiny package under $7,000?”
It fits in the palm of your hand, feels like a Hasselblad, has the same 35mm sensor as the F3, and accepts almost any lens in the universe with its Sony E mount. It looks like a Sony clamshell DSR-V10 recorder sprouting a lens mount. Some will say it looks like a Mamiya 645 Super or a miniature Red Epic. This is the camcorder that takes the DSLR evolution to the next level.
Production models of Sony’s NXCAM S35 will be shown at NAB. The official product name is NEX-FS100. The first mock-ups were shown in New York and LA on November 17, 2010—but they were red herrings without flip-up monitor, eyepeice extender or handgrip.
The team behind Sony’s NXCAM S35 camcorder gets our praise for the refreshingly well-executed design and thoughtful features. The base of the camera has four threaded tripod mounts: two 3/8-16 and two 1/4-20, with lots of anti-twist locating holes. Baseplate manufacturers, DPs and 3D stereographers will love this. Camera assistants and grips will applaud the extra 1/4-20 mounting sockets on the camera right side and top. A handgrip attaches to the camera right side.
The 3.5” flip-up LCD monitor on the top of the camera articulates to almost any shooting position. A removable eyepiece extender with cheek-hugging rubber eyecup, similar to the EX3, snaps onto the LCD monitor. It’s comfortable when shooting on a tripod. Because the camera is so lightweight, the eyepiece extender works nicely handheld at shoulder level and aimed up for low angle shots. A removable handle attaches on top with a shotgun mike. Imagine a Hasselblad style digital motion picture camera with good audio.
As we’ve belabored before, the NXCAM Super35 uses a single Super35 CMOS sensor—the same one as the Sony F3. The NXCAM S35 inserts Time Code and 3:2 Pull Down markers on the HDMI private data (allows simple 24p extraction by external outboard recorders or NLE, since HDMI does not support native 24p signals). Major third party companies are expected to announce support of this by NAB (AJA, Convergent Design, Cine Deck, Black Magic, etc).
Interchangeable lenses attach to the camera’s E-mount. This is the same mount as Sony’s NEX-3 and NEX-5 still cameras, and NEX-VG10 consumer camcorder. The very short (18 mm) flange focal depth lets you mount, with adaptors, most 35mm still and motion picture lenses on the planet. Adaptors are available from Sony, MTF, Novoflex, and many others–for PL, Leica M, Sony A (Alpha), Canon, Nikon, etc.
The NEX-FS100UK lens kit model comes supplied with the E18-200mm F3.5-6.3 OSS zoom Lens which gives users optical SteadyShot and auto focus. The SEL18200 lens supplied with the NEX-FS100UK enables shooting in illumination as low as 1.5 lux when using a fixed shutter speed of 1/30, auto gain and auto iris.
There will be an E-mount option for ZEISS Compact Prime CP.2 lenses. There were sightings of ZEISS Alpha zoom lenses attached with an Alpha to E-mount adaptor, in addition to Sony E-mount zooms and primes.
Images are recorded in AVCHD full HD 1080p (60p / 30p / 24p or 50p / 25p) MPEG4 AVC/H.264. Slow and quick (over and undercranked) is available.
Price will be under $7000. Shipping probably between April-June.
via fdtimes.com
More info on the NEW Sony NEX-FS100 #AVCHD #MPEG4 #NEXCAM #Cinedigital
NXCAM SONY NXCAM SONY
(Page 1 of 1 pages for this article )
Wednesday, March 23, 2011Filed under: Cameras •GentryMedia Sister Sites •ProVideo Coalition •PR News •Training •
More on the Sony NEX-FS100U AVCHD LSS Camcorder
Adam Wilt | 03/23
The large-single-sensor “NXCAM 35” unveiled. Plus: writeups, NAB seminars, press release.
NEX-FS100 next to a PMW-F3, from a Sony NAB Seminar email.
This image of the “NXCAM 35” camcorder is lifted from a promotional email for Sony’s Super 35mm Seminars at NAB (more below).
Jon Fauer shows a different configuration from his Japan trip along with his un-embargoed writeup.
Sony is holding a seminar on the F3 and FX100 at NAB, at 10am on Monday, Tuesday, and Wednesday:
This in-depth seminar will take you through the features and operation of these exciting new cameras, and you’ll learn more about the performance of Sony’s true Super 35mm sensor and what makes these cameras so special. Topics to be covered will include:
• A review of general specifications and capabilities
• External monitoring and I/O connections
• Recording format plus media and lens options, special recording modes and much more
• Q&A
So please join us for this free seminar at the 2011 NAB Show. Seminar time slots fill up fast, so please register early!
Click Here to register for Sony’s Super 35mm Seminar at the 2011 NAB Show.
Separately, I received a press release on the both the NEX-FS100 and the HXR-NX70 rain- and dust-proof camcorder:
Sony Expands its NXCAM Family of ProductsSony’s press release states a later release timeframe than Jon Fauer’s pre-earthquake info does; presumably the delay is due to the difficulties following the disaster.
New NXCAM Super 35mm Sensor Camcorder and “Rain and Dust Proof” Compact Camcorder Deliver Unprecedented Capabilities for Professionals
PARK RIDGE, N.J., March 23, 2011—Sony Electronics is unveiling the newest additions to its NXCAM® family of professional video products: the NEX-FS100U, an E-mount camcorder equipped with a Super 35mm CMOS sensor, and the compact HXR-NX70U, the industry’s first rain- and dust-proof professional HD camcorder. The new camcorders join Sony’s existing NXCAM model HXR-NX5U to deliver an impressive range of options, creativity and flexibility for production professionals.
“These new camcorders fill an important void in the digital handheld production market,” said Bob Ott, vice president of product marketing and management for Sony Electronics. “They combine affordability and high performance with a rich, ‘distinctive’ look for a range of applications – including commercial video, music video and many others.”
First premiered to the public a few months ago as a prototype, the NEX-FS100U Super 35mm camcorder is equipped with an Exmor™ Super35 CMOS Sensor. The large-format sensor’s high sensitivity enables it to produce footage with shallow depth of field similar to that of a film camera.
The sensor also features the optimum number of effective pixels for shooting HD moving images. At a high 60fps in all-pixel scan mode, this allows images to be captured with less color aliasing, jaggedness and rolling shutter than DSLR cameras, while providing the sensitivity necessary for shooting at a minimum illumination of 0.28lux (when using a fixed shutter speed of 1/30, auto gain and an iris setting of F1.4). Another advantage of Exmor technology is minimal noise when shooting low-light scenes.
The NEX-FS100U adopts the Sony E-mount interchangeable lens system. The camcorder’s very short flange back distance (the distance between the lens mount and sensor surfaces) allows various Sony A-mount lenses to be used via a mount adaptor (LA-EA1). It is also possible to attach a range of other lenses, using compatible third-party mount adaptors.
The NEX-FS100UK lens kit model comes supplied with the E18-200mm F3.5-6.3 OSS zoom Lens which gives users optical SteadyShot™ and auto focus. The SEL18200 lens supplied with the NEX-FS100UK enables shooting in illumination as low as 1.5lux when using a fixed shutter speed of 1/30, auto gain and auto iris.
The NEX-FS100U also accepts affordable and readily available compatible SD, SDHC and SDXC cards, and Memory Stick PRO Duo™. It is capable of recording images at various frame rates providing the added creative freedom of Slow and Quick motion with full HD. The camera operator can simply adjust the frame rate without using converters or editing software.The grip, handle and hybrid LCD viewfinder are detachable, making it ideal for handheld scenes and shooting in confined locations.
HXR-NX70U - first dust- and rain-proof professional HD camcorder
The main unit of the HXR-NX70U has been proven to reach dust-proof and rain-proof performance requirements, specified by IEC60529 IP54. Sudden rain or dust will not affect the camcorder’s operation, allowing the HXR-NX70U to perform in even the most challenging shooting environments.
The ultra-compact HXR-NX70U incorporates an Exmor R CMOS sensor to deliver superior quality low-light footage and enhanced manual controls to give the precision pro shooters need when capturing high-quality HD content. The camcorder also features a 96GB internal memory.
CinemaTone™ technology captures stunning footage with deeper, more film-like color tones and the wide angle Sony G™ lens can take in more of the action, producing sharp images with brilliantly accurate color reproduction. The optical SteadyShot image stabilization with Active Mode compensates for greater degrees of camera shake to deliver smooth video from wide angle to full telephoto perspectives. A built-in GPS receiver makes the HXR-NX70U an ideal choice for journalists and documentary makers as it gives them the ability to “geotag” footage when on location.
Each of the new camcorders is planned to be available between July and September 2011, at the following suggested list prices:
• NEX-FS100U (without lens) - $5,850
• NEX-FS100UK (with lens) - $6,550
• HXR-NX70U - $3,200
FTC Disclaimer: No material connection exists between me and Sony, Jon Fauer, or Film And Digital Times. No payments, material considerations, blandishments and/or outright bribes were offered me to post this article or to mention any product in a favorable or unfavorable light.(Page 1 of 1 pages for this article )
Ve la luz la NEX-FS100, una videocámara de gama alta con montura Sony E
Despues de que Sony anunciara su desarrollo el pasado mes de noviembre, la esperada videocamara NXCAM con montura NEX y sensor Super 35 es hoy una realidad. Bautizada como NEX-FS100, la nueva cra supone la verdadera incursion de la bayoneta Sony E en el terreno del videoo profesional, tras la primera y mucho más sencilla NEX-VG10. Perteneciente a la gama NXCAM, la FS100 utiliza el formato AVCHD y es capaz de capturar secuencias de vo Full HD a 50 fotogramas progresivos por segundo y con un flujo de datos mmo de 28 Mbps, sirviose de una ranura para tarjetas compatible con MemoryStick PRO Duo, SD Card, SDHC y SDXC como sistema de almacenamiento.
Como cabe esperar de una videocra planteada para usos profesionales, la FS100 cuenta con dos entradas de audio XLR con alimentaciphantom", la obligatoria salida para auriculares y una conexiDMI capaz de proporcionar una sesin comprimir y con co de tiempo incrustado.
Un monitor LCD de 3,5 pulgadas y 921.600 ples de formato panorco cierra la lista de las principales especificaciones de esta NEX-FS100, que estarisponible en Estados Unidos durante el pro verano en un paquete de venta bco -sin objetivo- de 5.850 des, elevando su precio a 6.550 des en compadel Sony E 18-200 mm f3.5-6.3 OSS. Se desconoce por el momento el futuro coste de la cra en territorio europeo.
Sony NEX-FS100: La Nueva Videocámara de 35mm con lentes intercambiables AVCHD NXCAM HDMI 4:2:2
Un cambio en las reglas del juego la nueva NEX-FS100 es Sony en su mejor cara
The NEX-FS100E is a new E-mount professional camcorder equipped with a Super 35mm motion picture sensor and is a further addition to Sony’s 35mm line-up.
The NEX-FS100UK is an interchangeable lens camcorder featuring a Super 35mm sensor equivalent in size to Super35mm film like that used in the PMW-F3, and a Sony E-Mount 18 to 200mm zoom lens. Developed specifically as a digital motion camcorder it is capable of producing footage with shallow depth of field similar to that of a film camera and capture with high image fidelity.
Highlights:
- The NEX-FS100UK is includes a Sony 18 ~200mm E-Mount lens. Sony's E-mount interchangeable lenses feature precision-crafted optics with aspherical glass elements for compact high performance, and circular iris mechanisms for smooth background defocusing. The supplied SEL18200(E 18–200mm F3.5–6.3 OSS) with the NEX-FS100UK boasts 11x zoom power, a quiet AF motor for cleaner sound recording, and Optical SteadyShot™ image stabilization with an advanced Active mode that lets you take steady handheld shots while walking around — even without a bulky stabilization rig.
- Equipped with a large CMOS sensor equivalent in size to Super35mm film like that used in the PMW-F3, it is able to create a rich bokeh effect (beautifully defocused image) to produce the much-desired shallow-focus look associated with top-shelf commercials and feature films. The sensor also features the optimum number of effective pixels for shooting HD moving images. This new sensor is designed with outstanding exposure latitude and sensitivity to deliver extraordinary HD images subtle in detail and color gradation while avoiding image artifacts typical of HDSLRs.. A tape measure hook and an image sensor position index on the body marks the position of the focal plane.
- 35mm E-Mount Interchangeable Lens System. The NXCAM Super35 features a Sony E-mount Interchangeable lens system. Due to the adoption of the E-mount interchangeable lens system, a great variety of current and future E-mount lenses from various lens manufacturers (Sony Zeiss, Tamron, Sigma and Cosina) are compatible. Thanks to its unusually shallow flange focal distance virtually any 35mm lens can be mounted via third-party adapters. Furthermore, “α” A-mount lenses can be mounted via Sony’s LA-EA1 adapter to electrically control iris and autofocus functions.
- 1920x1080P Slow and Quick Motion (Over & Under Cranking). Recording images at a different frame rate from that used for playback provides the extra versatility of slow and quick motion shooting. The NEX-FS100 enables Full HD (1920×1080) progressive slow and quick motion. S&Q shooting plus last scene review permits checking the S&Q effects on-set, immediately after shooting the scene without drilling down menus.
- Build-up modular design. Featuring a compact, lightweight body with detachable grip, handle, and viewfinder tube, the NXCAM Super35 can be configured for a wide range of shooting situations. To facilitate hand-held shooting, the angle of the handgrip can be positioned 360 degrees as desired and the LCD Panel can rotate for left or right side operation. Furthermore, there are numerous 1/4- and 3/8-inch screw holes on both the handle and the camera body for mounting the camera or attaching various peripheral devices.
- Sharp, large and bright 3.5 XtraFine™ LCD/ View finder. Located on the optical axis, the 3.5-inch-type XtraFine LCD panel enables easier, more intuitive framing, especially during hand-held shooting. And the LCD panel can be rotated for stress-free operation from either side of the camera. For easier, more precise focusing, a large Viewfinder tube with 1.2x magnifier is supplied to convert the LCD into a superb viewfinder.
- Flexible recording media. Recording to the directly mountable HXR-FMU128 Flash Memory unit allows continuous recording for over 10 hours without changing the recording medium. Simultaneous recording using memory cards and other media is also possible for secure backup when shooting footage that can't be reshot.
- HDMI Output with Embedded Time code for 4:2:2 Uncompressed digital output. For extra convenience when using external recorders, the NEX-FS100 provides an HDMI Output with Embedded Time code and pull down markers Signal Output al Output.
22 mar 2011
Convocatoria FOPROCINE - Canal 22 -Apoyo para la producción de TELEFILMS.
Convocatoria FOPROCINE - Canal 22
Información relacionada
Apoyo para la producción de TELEFILMS.
Las bases de participación y hojas de registro podrán descargarse de esta página o bien, solicitarse al correo electrónico fopro.22@imcine.gob.mx, a partir del martes 22 de marzo.
El período de envío de las bases y hoja de registro, así como la recepción de los proyectos, será del martes 22 de marzo al jueves 14 de abril de 2011, de las 10:00 a las 14:00 horas, en la Dirección de Apoyo a la Producción Cinematográfica del IMCINE, en Insurgentes Sur # 674-2° Piso, Col. Del Valle, C.P. 03100, México, D.F
En las bases se especifican los requisitos, criterios de evaluación y la fecha de publicación de los resultados.
Para mayor información ponemos a su disposición los teléfonos 54.48.53.50 al 55, y los correos electrónicos antes mencionados.
NOTA IMPORTANTE: Deberán revisar cuidadosamente las condiciones y requisitos mínimos que deben cumplir los proyectos. Cualquier modificación en los calendarios y presupuestos (cuentas y montos obligatorios) nos forzará a no registrar el proyecto.
via imcine.gob.mx
3 conferencias online, preámbulo de la VIII Jornada "Los guionistas frente al Mercado Audiovisual
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