Things You Must Consider when Buying a Superlative Camera for a Video Shoot

February 28th, 2018

Things You Must Consider when Buying a Superlative Camera for a Video Shoot


Shooting a video is an expensive project, especially if you’re looking to get high-quality clips and very standard motion pictures. Tools such a video glasses, cameras, and much more will be needed and you need to have proper expertise

When it comes to digital cameras, there’s a lot to be considered, especially considering the fact that you’ll be shooting stuff in motion (like spy camera). To wit, make sure to keep the following in mind when looking to get a camera for a video shoot:


The ISO (not an acronym, by the way) describes the sensitivity that your camera’s sensor has to light. Originally, ISO was known as “film speed,” due to the fact that it was a static measure of light that a type of light could absorb at a time. However, the ISO that’s found in modern digital cameras can easily be adjusted up and down. The higher the ISO, the higher the image, and that is achieved by digitally amplifying the information that is gotten during exposure.


Aperture is a concept that is measured by the f-number scale (a scale that is very confusing). It is a dead simple setting, although its nomenclature is pretty obtuse. Basically, most lenses can easily construct the light that passes through them with a diaphragm, which can, in turn, be extended with the controls on the camera. If you want more light in the videos you take, all you have to do is pull the diaphragm back as far as it can go, and if what you want is less light, extend it, and the incoming rays will be limited to a narrower and focused hole. This means that the aperture is just a relative measure that describes the limit to which the diameter of your camera’s lens opens. An aperture with a lower f-number is lower, with the extremes being f/2.8 (and any number below). Higher f-numbers signify the fact that there is more light being blocked.

However, you should know that a major side effect of having a wide open lens is that it allows a lot of unfocused light rays to go in. This will result in a shallow field depth, and this means that anything that is in front of or behind where you’re trying to focus on will be blurred.


The shutter speed will determine how long the light will take to collect light, unlike ISO and aperture, which are responsible for controlling the amount of light that is absorbed. Shutter speed is measured as a fraction of a second, and this means a camera with a shutter speed of 1/25 will mean that the shutter will remain open for one 125th of a second. If a camera has a higher shutter speed, it is able to capture a shorter time period, and this extremely important if you’re looking to get some blur-free clips. However, lower shutter speeds will also allow you to take in more light.

About The Author

Rachel Stinson has always had a knack for writing, food, fashion, and places. Blogging has combined all four for her with an added bonus of enthusiastic audiences. She expertly analyzes real estates, restaurants and electronics stores with respect to pricing and people involved and can express her opinions in an unhesitant, engaging manner for all matters.



Why Appropriate Lighting Effects are Indispensable for a Marvelous Photo Shoot

February 26th, 2018

Why Appropriate Lighting Effects are Indispensable for a Marvelous Photo Shoot


If you’re looking to get a sweet photo shoot, then there is no doubt that you need good lighting. As a matter of fact, lighting is the single most important thing that is required for a photo shoot to be excellent. All cameras- whether it’s a spy camera, a nanny cam, a digital camera, or the one on your own phone- need a little help from the light around them if their lens are going to be able to work efficiently and produce sweet footage.

It determines what you see, what you shoot, and what any viewer is able to see. Good lighting is also able to transform an image and give it a certain “pop” that is not only natural and unadulterated but is sleek and incredibly like-like.

Take the following facts and see whether you need good lighting or not

The broader the light source, the softer the light.

A narrower light source will make for harder light. In contrast, a broader light source reduces shadows, suppresses the texture, and reduces contrast as well.

With a light source that is broader, light rays will be able to hit your object from more than one direction. This tends to fill in shadows and provide even more light to the scene as well as your object.

The farther the light source, the more it falls off and gets dimmer on your subject.

It is also possible for you to control your light intensity in order to ensure that your object gets even lesser light (maybe for a shoot with a dark or ominous theme behind it).

Basically, this rule states that light falls off as the square of the distance it might sound complicated, but it actually isn’t. If you take a light source and more it twice as far from your object, then you will end up with only a quarter of the light actually being on the object.

In other words, lights are able to reduce more rapidly as you move it farther and farther away. It is definitely something that you need to keep in mind whenever you need to move the lights so as to change their intensity on your object.

Also, you can keep in mind that bouncing light- even if it’s into a shiny reflector that keeps the direction of the light- is able to add to the distance that it will cover.


About The Author

Rachel Stinson has always had a knack for writing, food, fashion, and places. Blogging has combined all four for her with an added bonus of enthusiastic audiences. She expertly analyzes real estates, restaurants and electronics stores with respect to pricing and people involved and can express her opinions in an unhesitant, engaging manner for all matters.


6 Tips To Choose A Perfect Lens For Your Camera!

February 9th, 2018


which lens

A camera helps to capture the world around and a lens is what plays the main role to help you do that perfectly. The quality and the type of lens surely make a difference in the image captured. Whether it is about buying a dash cam or a nanny cam with audio, if you are deciding to add a new camera to your kit, just read these tips to help you choose the perfect lens.

  1. 1.      What do you want to shoot?

This is the first and the most basic question that should be asked before you jump into the technical specifications of the lens. The type of lens you should buy depends on what you are going to shoot with it, whether it is landscapes, portraits, architecture, birds, wildlife, sports or other subjects.


  1. 2.      Decide the budget

Cost is of course, always a factor to be considered. Cost of a lens depends on the aperture, focal length, and other specifications. An expensive lens has a fixed aperture i.e.  no matter how much you zoom the aperture remains fixed, unlike the less expensive ones which have a variable aperture. A variety of lens is available to suit the budget and the aperture and focal length requirements.


  1. 3.      Aperture of the lens

The aperture of a lens determines how much light can the lens let in and is a number written on the lens.

  • Wide aperture: Smaller the number, wider the aperture. A wide aperture captures more light and hence can take photographs even when the light available is less but makes the image less sharp.
  • Narrow aperture: Larger the number, narrower the aperture. In contrast to the wide aperture lens, it captures less light but provides a greater depth of the field.


  1. 4.      Focal length

It determines how far can you zoom in. Larger the number more will be the magnifying power of the lens. It is a prominent aspect of a lens irrespective of whether you are going for a dash cam or a nanny cam with audio.


  1. 5.      Stabilization

Having a stabilized lens is an expensive deal but it lets you take sharp shots even in varying lighting conditions and eliminates camera shake.


  1. 6.      Perspective

Visual perspective is, of course, an important part when you wish to tell a story through your capture. It may happen that when you are shooting a tall building and you shift the lens upward, the building shape gets distorted showing a thinner top and a wide bottom, unlike the reality. This simply means the perspective being captured is not correct and hence a lens needs to be such that it can correct the perspective and show the true picture.


Buying a lens for your camera is a huge investment. Once you have invested in the camera, the next is the lens which should be chosen wisely and the above tips will definitely help. Follow the tips and save yourself from the regret which may follow a wrong purchase!


About The Author

Rachel Stinson has always had a knack for writing, food, fashion, and places. Blogging has combined all four for her with an added bonus of enthusiastic audiences. She expertly analyzes real estates, restaurants and electronics stores with respect to pricing and people involved and can express her opinions in an unhesitant, engaging manner for all matters.

Broadcast India Show 2017 breaks all previous records!

November 7th, 2017

bi                                                              nm

Broadcast India Show 2017 breaks all previous records!


ü  Growth of 15% over last edition

ü  Overwhelming response from exhibitors and visitors

ü  Perfect Networking Platform for the professionals from Content Creation to its Management and Delivery

ü  Right mix of impressive displays ranging from Acquisition & Production, Post Production, Infrastructure, Automation, Delivery, Storage and AUDIO  


The 27th edition of the annual B2B Broadcast India Show concluded on a spectacular note on 14th October 2017 at Hall 6, Bombay Exhibition Centre, Goregaon, Mumbai. The three-day trade fair witnessed the leading participants from across the globe present a wide array of products and technologies from the broadcast, television, film, audio and radio industry. For over the last two and a half decades, the Broadcast India Show has positioned itself as the single most interactive platform that showcases, the paradigm shifts in infotainment technology across the globe and allows technology seekers to connect with the innovators and experience the marvels first-hand.

The three-day trade fair opened with a customary lamp lighting ceremony in the presence of Satish Kumar Agarwal, President, All India Broadcast Manufacturers & Distributers Association, Ramesh & Kavita Meer, Project Consultants, NürnbergMesse India, Joerg Uthmann, Executive Director, International Business Management, NürnbergMesse and Bernhard Steinruecke, Director General, Indo-German Chamber of Commerce.

Commenting on the occasion, Sonia Prashar, Chairperson & Managing Director, NürnbergMesse India said, “The response to the 27th edition of the Broadcast India Show has been phenomenal. Organized by NürnbergMesse India, over 590 manufacturers and brands displayed cutting edge technology and solutions at the trade fair. This year the event grew by 15% over last year in terms of exhibition space and new exhibitors. Broadcast India Show has carved a niche for itself in the broadcast industry. The exceptional response is testimonial to the fact that the event is the leading and the only platform for business networking and engagement for the industry. “

Kavita Meer, Project Consultant, Broadcast India Show 2017 shared, “Broadcast India Show has always attracted the key influencers and decision makers of the industry. This year over a leading number of global professionals made their attendance at the event. The show has become a calendar event for the industry and it is because of its ability to attract professionals from the entire spectrum of the broadcast industry that it enjoys such a strong connection with the infotainment industry.”

From content creation to its management and delivery, Broadcast India Show 2017 presented an entire gamut of products and solutions catering to the entire scale of the broadcast and film industry. Thousands of buyers and delegates gathered to witness the largest conglomeration of the solution providers for the broadcast and the infotainment industry. Apart from the business dealings on the exhibition show floor, there was a lot of buzz around the power-packed conference sessions throughout day 1 and 2 of the exhibition. Relevant topics like – Emerging trends in mobile and film making, IP in Broadcasting and Audio Solutions for TV Broadcasting were discussed. The keynote by Jonathan Wales, CEO of WildfireSonic Magic, USA, stressed upon Next Generation Audio Mixing while Dane Gambrill, Watson Media & Cloud Video Business Unit Executive – Asia Pacific, IBM stressed upon – Becoming a living media partner for your consumers: A cognitive future for Media & Entertainment.

Dr. Edison Samraj, Managing Director – India, Nepal, Bhutan and Maldives, Adventist Media Centre, shared, “Broadcast India Show 2017 was an excellent presentation of various technologies available for media people. I think it was a good exercise to see how we can have many complex operations with precision and clarity. Every business and media house needs to empower themselves with latest technologies and I have come here to learn what areas can be developed in our media house to match with the growing trends and technological advancements.”

Milind Dinakmule, Cinematographer, said, “I have been visiting the Broadcast India Show right from its inception and have always found the event to provide all solutions for the entire broadcast industry in a platter. I would like to see the event to expand to other cities as well like Chennai, Hyderabad and Kolkata. “

Leading brands not only managed to connect with existing buyers but also acquire new buyers from across the country. Amitabh Kumar, Head- Marketing (Professional Category), Sony India, said, “We have had a number of key visitors who have visited us at our booth not only from Mumbai but from other cities as well. The Broadcast India Show is a key platform for us to launch our models in the broadcast industry in India. This is the only platform where we can showcase our models to the broadcast industry. As India is growing, I hope Broadcast India Show also grows and accommodates more and more brands and vendors and makes it more attractive.”

Umender Shah, Business Head India and SAARC, Zeiss, shared, “We have been at the Broadcast India Show for the last 5 years and every year we have been seeing there is a considerable amount of change than the previous edition. Broadcast India Show is one of the serious professional show and the kind of visitors that come in, they are really good.  It is a platform where we meet the customers because of which we are successful. Every year the quality of visitors is also improving. I thank the organisers for organizing the event in such a beautiful way that every year, we not only get good customers but also new visitors from the show. Keep it up and thank you for such a beautiful management of the Broadcast India Show.”

Commenting on the occasion, Dan Holland, Marketing Manager, IHSE, USA, says, “We have had a very good experience at the Broadcast India Show. We have got quite a few new customers coming in. This is our third year at the Broadcast India Show and as we are getting more exposure and brand recognition, people are recognizing the quality that IHSE brings to the broadcast market for India. The quality of visitors was very good. We are seeing a wide range of visitors coming in anywhere from a standard small studio all the way up to full scale television and broadcast production.”

Some of the leading brands who displayed their products are Blackmagic Design, Sony, AVID, RED Digital, Canon, Datavideo, Samsung, IBM, Ross Video, FOR-A, Grass Valley, ARRI, Atomos, Carl Zeiss, Panther, Seagate, On Air Asia, AJA Video Systems, Playbox, IHSE, Primestream, Ikegami, Hitachi, Monarch, Netweb and Sennheiser among many others.

The next edition of the Broadcast India Show will be held from 25-27 October, 2018 and will once again serve as the trend setter and will prove to be testimony to the largest gathering of professionals from the broadcast Industry.


About the NürnbergMesse Group

NürnbergMesse is one of the 15 largest exhibition companies in the world.
The portfolio covers some 120 national and international exhibitions and congresses and approx. 40 sponsored pavilions at the Nuremberg location and worldwide. Every year, around 30,000 exhibitors (international share: 41%) and up to 1.4 million visitors (international share of trade visitors: 24%) participate in the own, partner and guest events of the NürnbergMesse Group, which is present with subsidiaries in China, North America, Brazil, Italy and India. The group also has a network of about 50 representatives operating in over 100 countries.


Contact for Press & Media:

Mr. Apurba Biswas

NürnbergMesse India Pvt. Ltd.

Tel.: +91 22 62165316

Differences between the Sony FS7 and FS7 II

May 8th, 2017







sony fs7 ii 500

Changed ND filter ND filter with 4 levels Electronic Variable ND filter from ¼ to 1/128
Changed E Mount Standard E mount E mount locking mechanism
Improved Colour space Rec 709 Rec 2020 (same as F5) so get better colours
Added Power LED NA Above the on off switch to show if the camera is on
Thumb Screw on grip arm extension Required a screw driver No screw driver required to control
Assignable User buttons 6 10
Changed Recording card holder Sticks out 4.3mm more for easier removal
Changed big viewfinder loupe One of the two flimsy loupe attachments has been removed. They also added a nice foldable sun hood as an alternative to the loupe when using the LCD in sunlight.
Changed LCD attachment The round rod with a square one, so the LCD doesn’t tilt so easily.

What hasn’t Changed

Super  35 sensor, 4k DCI resolution upto 60fps, internal Slo mo till 180 fps,

Electronic Variable ND filter

While the FS7 has 4 levels of ND, The FS7 II gets the an electronic neutral density filter which is continuously variable from 1/4 to 1/128 strength. It can also be completely disengaged when unneeded and is automatically replaced with a clear glass.


The Electronic ND works in 3 ways

1. You can preset the four-position filter wheel to whatever fixed discreet levels of ND you want – in a similar way to the way you can assign values on the gain switch on other models. This allows you to work in much the same way as you would with a conventional ND filter wheel, with rapid ND changes if you need them.

2. Alternatively you can use a thumbwheel to vary the ND continuously, through seven stops of correction. This is essentially a better version of a front mounted variable ND filter, but without the drawbacks.

3. You can use automatic ND for auto exposure without varying f-stop, gain, or shutter speed. The electronic neutral density control doesn’t affect the color the way a regular ND fader filter on the front of a lens does, and it quickly becomes your primary exposure control, allowing you to work at a constant aperture in almost all situations.

E mount locking Mechanism


The innovation about the E-Mount Lever Lock mechanism makes it very similar to the PL mount system used in cinema productions: instead of turning the lens you now turn the collar.


This helps lock lenses more tightly and is ideal for large camera setups such as when you have a matte box and follow focus setup, as you don’t need to twist the lens.

This mount is ideal for cinema, large lens setups and also when the camera is on a tripod but could be challenging to use single handedly.


Tool-less operations

The FS7 II’s “tool-less” mechanical design lets users make on-the-fly changes to the camera’s set-up and operation. For example, no tools are required to adjust the Smart Grip or viewfinder positions


Changed Microphone mount


The microphone mount is now runs on a 15mm rod, rather than being fixed on the rod as on the FS7. The mount has been modified for better noise isolation from handling. The new mount allows you to use a microphone either on top, or slightly underslung closer to the lens.


Changed View finder mount

The viewfinder mount’s front and rear adjustment has been changed from a round rod, to a very slightly longer squared-off tube that will ensure that the viewfinder stays in a horizontal orientation. The earlier circular rod has been provided for users preferring the old one.


In the nutshell, a few changes making it primarily useful for feature film makers. Documenatry and smaller film crews will continue to prefer the older version