![]() ![]() There’s one thing that this review isnt able to provide in its first iteration – a review of the actual video. There are some features borrowed from its bigger brethren that are new to this class of camcorder and present intriguing opportunities to the corporate and industrial market. Well look at what 4K can bring to the videography market, but we also need to introduce the alphabet soup of new abbreviations and acronyms that accompany the camcorder. It certainly challenges my current workflow in the same way HDV did back then, and its headline feature – 4K – is deservedly the centre of attention at launch. It brings many new exciting technologies that seem to be ready for the long term. I feel the same way about the PXW-Z100 as I did about the Z1. At the same time, we got FireWire, SD features like anamorphic 16:9, in-camcorder down convert of HDV rushes so we could file away our HDV masters and continue to work in the comfort and safety of DV. We found that the HDV had some tricks up its sleeve: it could make great Standard Definition video, by shrinking blocky colour pixels you could achieve chromate, and we could make 720p video for playback on computer screens – the corporate world was introduced to HD through PowerPoint. You could record HDV, but finding a method to play it back could be tricky – HD screens were hard to come by. Sony launched the HVR-Z1E – a remarkable camcorder that brought HD to the corporate, event and videography market. It sounds a little familiar when I think back: Long, long ago, in a time before HD Whilst the market is still weighing up 4K, the Z100 brings it into the reach of a far wider professional audience. The PXW-Z100 is Sonys affordable entry-point to 4K and includes a lot of new technologies and features in a compact, reassuringly familiar package. Simple, predictable pricing.Īn EditReady license is perpetual, works on Mac, and includes a year of updates and support.Filmmaker Matt Davis a Sony Independent Certified Expert ( ICE) and MD of corporate production company MDMA takes a detailed first look at Sonys stunning new PXW-Z100 4K camcorder. Use the overlay tool to burn-in timecode, reel names, shoot dates, media names, and other metadata. Layout custom formatted text, including metadata values from the source media. ![]() Import images with alpha channels to apply complex bugs or watermarks. Use the overlay editor to position graphical elements for compositing on top of your video. Play back, trim, add LUTsĪnd there's more: screen your camera's original media files before you transcode them, apply a LUT to preview your Log media with or without a specific predetermined look, check your previewed clip in ScopeBox via our integrated ScopeLink connection, and set In and Out points to avoid transcoding unwanted parts of your clips. EditReady's unique color pipeline make this a breeze, translating everything to what you need it to be, without compromises. When a shoot mixes camera formats, you'll end up with a variety of color spaces, Log types, HDR formats, and LUTs. The end result? A high quality proxy that's easy to edit with, with all the flexibility a non-RAW format carries. EditReady uses each vendor's specific RAW decoder, using the vendor preferred Log format to reflect the original shooting intent. Use metadata to automatically rename files, or burn data into overlays. Review and edit metadataĮditReady lets you view and edit all of the metadata associated with your file, including location data, camera settings, and diagnostic information. ![]() Every codec gets transcoded as its makers intended it to. No unofficial frameworks, and zero hacks. Using each manufacturers' original SDK wherever possible to ensure the best quality transcodes. ![]()
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