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At NAB on 16th April Blackmagic Design revealed their forthcoming sub-£2,000 Cinema Camera to the world and the world seemed to go a little bit crazy – Their stand was mobbed by an audience desperate to see and touch the prototypes of the new camera and our pre-orders for the camera are already at unprecedented levels.

So what’s the fuss about?  Surely it can’t be the camera’s looks, as it’s a peculiar beast – A cross between an iMac and a Polaroid Instamatic camera!

Let’s take a look at the camera’s key features:

• 4/3″ CMOS Sensor
• 2.5K Resolution
• Canon EF lens mount
• 13 Stops of dynamic range
• Internal Recording to SSD
• 12-bit DNG RAW, Avid DNxHD and Apple ProRes recording formats
• £1,925+VAT

What stands out above all else is the price:  At just £1,925+VAT Blackmagic Design have combined a large sensor camera with high quality recording Codecs. WOW!

But before we get carried away in the NAB hype let’s also consider what’s missing:

• No ND (Neutral Density) filters
• No conventional iris control dial, EF lens’ iris is controlled in 13 steps through the GUI
• Very limited physical control buttons – Almost all camera settings and controls are via the touchscreen panel
• Non-replaceable internal battery provides only 90 minutes running time (recharge takes 2 hours) or you could use 12-30V external DC power
• No eyepiece viewfinder
• LCD panel’s angle cannot be adjusted
• No XLR audio inputs (they’re 1/4″ Jack)
• Limited 12 month warranty

In Summary:

For those on a micro budget who need video only and simply can’t afford a Sony F3, FS100, FS700, a Canon C300 or even a Panasonic AF101 then the BMD Cinema Camera is undoubtedly great value for money as it promises DSLR-beating video performance at a price point that’s in-between that of a Canon 5D Mark II and a 5D Mark III.

However, on balance it should be borne in mind that it’s less versatile than a DSLR and its ergonomics and feature set fall well short of that demanded by an experienced professional video user, so whilst the Blackmagic Design Cinema Camera is ground-breaking in terms of performance at a given price point, it’s only a matter of time before those who adopt it will crave a more sophisticated camera.

Click here to view the CVPtv introductory video 

Today Canon announces its expansion of the Cinema EOS system.

Introducing the EOS-1D C – a high resolution, 4K DSLR camera optimised for video recording. 4 new Cine lenses ideal for use with next generation 4K cinema cameras. And finally Canon are also pleased to confirm the development of a new digital cinema camera capable of recording 4K-resolution called the EOS C500.

EOS-1D C
The EOS-1D C is a unique product offering a package of features not comparable to any other product on the market.

Based on the powerful core specifications of the EOS-1D X, it incorporates additional features such as 4K recording and Full HD/60p support, alongside the option of high quality stills capture.

As part of the Cinema EOS range, it’s also compatible with the complete range of EF and Cinema Lenses, offering video professionals exceptional flexibility.

Key Headlines:

• Internal 4K (4,096 x 2,160) recording with 4:2:2 colour sampling – direct to CF cards
• 8-bit Motion JPEG compression
• ISO sensitivity up to 25,600
• Clean HDMI out (Full HD, 4:2:2)
• Canon Log Gamma
• 24p support during 4K shooting
• 24, 25, 30, 50 and 60p frame rate support in Full HD (1920x1080p) resolution
• Full-frame sensor with crop support (APS-H, Super 35mm)

All other specifications are the same as the EOS-1D X.

EOS C500

Targeting both the motion picture and high resolution digital production industries, the EOS C500 will offer 4K RAW output and will be available with Canon’s EF mount and the industry-standard PL mount.

In November 2011 Canon announced the EOS C300 – the first camera in the Cinema EOS System, marking the company’s entry into the motion-picture and digital production market. Highly acclaimed by video professionals since launch, the EOS C300 offers exceptional video quality performance, outstanding mobility, durability and expandability, thanks to its modular design and its compatibility with Canon’s range of EF and EF Cinema Lenses. The EOS C500/EOS C500 PL will be based on the same advanced platform, adding support for 4K RAW video capture, and 4:4:4 sampling during 2K capture.

Supporting next-generation 4K-resolution video capture and RAW data output, the EOS C500/EOS C500 PL will achieve exceptional video results without any loss in quality. The camera’s uncompressed 4K output will unleash the full potential of Canon’s premium range of EF Cinema Lenses, combining with Canon Log Gamma, which delivers the high-quality video and wide exposure latitude required by digital cinematographers.

Furthermore, 12-bit RGB 4:4:4 signal during 2K (2,048 x 1,080 pixels) video output will deliver rich colour and high compatibility with image processes such as chroma key compositing. Support for frame rates up to 120p in both 4K and 2K resolution will provide enhanced creative flexibility, enabling high-speed (slow motion) video capture in high resolution.

A development prototype of the EOS C500 digital cinema camera will be on display at NAB 2012 from April 16-19 in Las Vegas, USA.

Cine lenses
The new lenses will join Canon’s existing line-up of high-end EF Cinema Lenses in forming the core of the Cinema EOS system, which spans lens, digital cinema camera and DSLR categories.

In addition to compatibility with industry-standard Super 35 mm-equivalent cameras, the four cinema zoom lenses will also offer superior flexibility. Each lens will feature a compact, lightweight body supporting a wide focal range, making them ideal for handheld shooting. Combined with the Canon’s existing high-end EF Cinema primes, the new lenses will offer a greater variety of creative possibilities for video professionals of all types.

Prime Lenses

• CN-E15.5-47mm T2.8 L S (EF)
• CN-E15.5-47mm T2.8 L SP (PL)

Telephoto cinema zoom lenses

• CN-E30-105mm T2.8 L S (EF)
• CN-E30-105mm T2.8 L SP (PL)

Prototypes of the new cinema zoom lenses will be on display at NAB 2012.

Introduced from early 2009, the venerable PMW-EX1 and PMW-EX3 series of 1/2″ 35Mb/s XDCAM EX camcorders have now entered the twilight of their existence and we’ve been wondering for a while what Sony’s next generation models will look (and more importantly perform) like?

It seems to have taken an extraordinary amount of time for Sony to catch onto the fact that when the BBC and other leading UK broadcasters stipulate that their source material for mainstream broadcast must be captured at 50Mb/s (or higher) there’s no point arguing the merits of lower bandwidth formats with them…  Whether they’re right or wrong, they are incredibly influential and all producers want to be able to supply them with approved content!

But as the old saying goes it’s better late than never, and clearly Sony have been listening to their customers because here is a snapshot overview of the new PMW-100, doubtless their first in a new line-up of 50Mb/s capable camcorders:

Many people are claiming that the PMW-100 is a 1/3″ camera, but a cursory glance at the specifications tells a slightly different story because it actually features a single 1/2.9inch CMOS sensor – Smack bang in-between the size of a 1/2″ and a 1/3″ and hopefully this means that the PMW-100 can deliver superior low light performance when compared to other 1/3″ cameras.

The integrated lens features a 10x optical zoom which has a focal length of 5.4 – 54 mm (equivalent to 40-400 mm on 35 mm lens).  This is not as wide as the lens on a Canon XF100 series, so I suspect that owners may want to carry a wide angle adaptor for use in tight situations…  Of course the flip side of this is that at the telephoto end of the zoom range it is usefully ‘longer’ than the Canon.  The lens’ aperture is f/1.8 at the wide end, varying to a still reasonably ‘fast’ f/2.9 at the telephoto end.

In its maximum quality HD422 mode the PMW-100 captures full HD using an MPEG-2 422P@HL Codec at 50Mbps / CBR (Constant bit Rate).  The PMW-100 is a ‘worldwide’ camcorder, so you can shoot material for output either side of the ‘pond’ with standard frame rates that include 59.94i, 50i, 29.97p, 25p, 23.98p.  In 1080p the frame rate can also be varied from 1-25fps in UDF mode (or 1-25fps if using NTSC settings) and in 720p mode you can ‘over-crank’ up to 60fps (NTSC area settings).

PMW-EX series owners will be pleased to read that the PMW-100′s recording media is SxS cards which utilise the Expresscard/34 interface and have proven to be ultra-reliable – The PMW-100 has dual card slots for continual recording capability and at 50Mb/s a 64GB card will store over 120minutes of footage.  In common with the PMW-EX camcorders, the PMW-100 is also compatible with Sony’s 12V BP-U series batteries and therefore easy to power from larger professional grade 12V batteries and shoulder-mount rigs.

With an operational weight of 1.5Kg (bare), the PMW-100 is 30% lighter than a Z5E, so it’s a very manageable handheld camcorder that can be taken anywhere.

In summary:

At £3,433 the PMW-100 is great value.  Whilst it doesn’t have the 3 separate lens rings a professional camera operator wants it’s combination of great image quality, compact size and ease of use make it ideal for broadcast video journalism applications.

One of the hottest products to be shown at NAB 2012 next month is bound to be Sony’s new NEX-FS700E.

This little beauty is the big brother of the popular NEX-FS100E and features significant enhancements including:

• Built-In ND (Neutral Density) filters – 1/4, 1/16, 1/64
• 4K ready – Requires external 3G SDI recording device
• Super Slow motion recording at up to 200fps @ 1080p, full quality through to 960 fps (at reduced data rate per frame & resolution!)

Pre-order yours here: http://www.creativevideo.co.uk/index.php?t=category/fs700e

As professional camcorder sales become more and more dominated by large sensor cameras designed to emulate the aesthetically pleasing shallow DoF (depth of field) normally associated with 35mm film, we’ve learned that Sony have recently licensed and implemented a revolutionary new technology called VariDoF.

The acronym stands for Variable Depth of Field and through the combination of a super high resolution 65mm CMOS sensor, sophisticated secondary optics and a custom-manufactured RISC processing engine the system is able to seamlessly vary the effective sensor area, and therefore Depth of Field in real-time without the need to change lens or aperture…

Here is a schematic illustration of how the VariDoF system works:

This means that just as a DoP can today pull-focus or aperture, with a VariDoF camera it is now possible to ‘pull DoF‘ too, thus opening up a whole new dimension of creative possibilities.

Sony VariDoF Prototype Camcorder

The prototype camera looks like a PMW-350, however it is distinguished by a slightly elongated sensor block housing and VariDoF control port.The effective sensor size can be accessed and preset through the camera’s internal menu system. Preset sizes are 1/3″, 1/2″, 2/3″, s16, s35 and 65mm. A VDC-R1 remote controller can be connected to the VariDoF port to provide a precise control surface for real-time DoF control. To vary the DoF the secondary lens system adjusts the lens’ area of projection whilst the active area of the CMOS sensor is simultaneously varied to match. Focus is tracked simultaneously so that the operator’s preset focus point is maintained.

Click HERE to view a demonstration of ‘Pulling DoF’

Here are some frame-grabs from the video:

Frame grabs from VariDoF video demonstration of 'Pulling DoF'

The prototype camera featured a Sony 2/3″ B4 type lens mount, meaning that the camera could natively accommodate a wide range of ENG, EFP and Cine-Style lenses. Sony tell us that their adaptation of the VariDoF technology incorporates an inter-changeable lens mount system so that it can accept any lens from 1/3″ to PL mount with the secondary lens system compensating automatically for the different projected image sizes (via a menu setting).

Sony haven’t specified the resolution of their 65mm CMOS sensor, however they have confirmed that it can deliver a native 2K resolution in 1/3″ mode and would be able to resolve over 16K in 65mm mode if the recording medium and processing engine could handle it.

The VariDoF technology is the property of  VariDoF Corporation Inc. and has not been licensed to Sony exclusively, therefore expect to see a whole host of other manufacturers ‘jumping on the bandwagon’ to deliver VariDoF cameras in the near future (If they’re not doing so already.

For further information see the VariDoF.com website or visit the NAB Show in Las Vegas later this month.

If you’re about to embark on building a new television studio or perhaps upgrading an existing facility to HD then one of the most important decisions you’ll have to make is your choice of camera ‘chain’. (A camera chain typically comprises a Camera Head, Viewfinder, Cable Adaptor, CCU (Camera Control Unit) and Joystick or Rotary dial controlled RCP (Remote Control Panel).

Simply choosing a studio camera based on its initial price can create problems and require significant compromise or additional expenditure further down the line.  For example, choosing a smaller sensor camera may save money on the cameras but that saving could be more than wiped out by the need for additional studio lighting (and increased running costs) needed to compensate for the lower sensitivity of that sensor.  A smaller sensor will also result in a deeper depth of field at a given aperture and that may create a far ‘harder’ look within the studio due to an increase in focus on background / foreground objects – The more in focus your set is in the background the more detail it must contain and therefore the higher its cost will be.

If there are long cable runs (over 100m for HD), or you demand 1080/3G HD performance for your studio then you may want to invest in a Triax or Fibre based solution, however it must be borne in mind that a typical 2/3″ Triax based camera ‘chain’ is upwards of £30,000 and a 2/3″ Fibre based camera ‘chain’ is over £50,000 (excluding lenses, tripods etc…), making a 2/3″ Multi-Core camera ‘chain’ for under £20,000 a very attractive proposition indeed.

INTRODUCING THE SONY HXC-D70 CAMERA.

Clearly pitched as the successor to the Sony DXC-D55WSPH 2/3″ studio camera, the HXC-D70 has a very familiar look and feel, however it is fully loaded with all of the advanced features contained within Sony’s superb PMW-350 XDCAM EX HD camcorder.

Here’s how the D70 ‘s vital statistics compare to its SD predecessor, the DXC-D55:

The D70 is equipped with a 3 x 2/3″ Full HD Sony Exmor CMOS image sensor which delivers incredible sensitivity of F13 @ 2000 lux (1080i/50) combined with a high signal-to-noise ratio of 59dB.  That’s a whopping 2 stop increase in light sensitivity over the DXC-D55 SD camera!  As with the PMW-350, the D70 also features electronic colour temperature correction (avoiding the usual light loss and increase in noise normally associated with an optical colour correction filter wheel).  ND filters are of course provided too, in the form of a traditional ND filter wheel.  Downstream of the sensor, the D70 has inherited a wide variety of picture adjustments, many of which have previously only featured in Sony’s XDCAM HD camcorders and high-end studio cameras.  These include MultiMatrix, up to 7 Gamma Curves (including Hyper Gamma), Low Key Saturation, Skin Tone detail, Knee Saturation and Auto Lens Aberration Compensation (ALAC)…

The D70′s high quality images are transmitted to the CCU via a 26-pin Multi-core (Sony CCZ type) cable.  Connectivity at the camera head includes DC power input and output, SDI input and output, Gen-lock input, Prompter output, Test output, Audio input, Earphone and Intercom input and output.   At the CCU end there are connections for Sync input and output, Prompter input, Component/RGB output, S-Video output, HDMI output, Composite input and output as well as an additional four SDI outputs!  For a budget camera system the HXC-D70 is extremely well equipped.

The HXC-D70 camera is available from Sony in three base packages: 

As you’d expect, these bundles offer savings when compared to buying their constituent parts separately, however it’s disappointing that there isn’t a configuration available with a large studio viewfinder instead of the 3.5″ ENG style viewfinder because that’s the unit you’re more likely to really need in a multi-camera studio environment.  This means that unless you want to be able to use the cameras in shoulder-mount ENG configuration you might be better off buying the D70H in conjunction with either the optional DXF-51 5″ monochrome CRT studio viewfinder or the superb DXF-C50WA 5″ studio viewfinder instead…  Image magnification and Peaking Plus make the DXF-C50WA the preferred option. 

That said, when you consider that the HXC-D70K includes a 16x lens it’s great value even if you don’t use the included viewfinder!

Don’t forget that in addition to the most appropriate camera package you’ll need  to buy a VCT-14 tripod adaptor plate, a CCU, cabling and probably an RCP.  If you’re migrating from an older DXC-D5x based studio configuration and you already have CCU-D50′s and RCP’s in place then you can use these with the D70 in SD mode until the time when you need the additional functionality provided by the newer SD/HD compatible HXCU-D70//U and matching RCP-1000//U RCP.

The RCP:  A luxury or a must-have item?

Whilst it is possible to operate a camera channel without an RCP by using the comprehensive controls on the front panel of the CCU (which control Iris, White Balance / ATW (Automatic Tracing White), Black Balance, Flare,  Master Black Level, Master Gain and Shutter Speed), this method is not recommended for a couple of reasons:  1) The iris control on an RCP is provided by a large joystick or rotary dial providing far more accurate control. 2) The CCUs are normally rack-mounted, making it very awkward to comfortably operate the controls whereas the compact RCP is specifically designed to be surface mounted in a gallery control desk for infinitely superior ergonomics.

Multi-core cabling

For SD (Standard Definition) signal transmission cable lengths of up to 300M can be utilised, however if you are operating in HD (High Definition) then this is reduced to 100M.  Fixed length CCZ cables of 5, 10, 15, 25, 50 and 100 metre lengths are available from Sony.  For other lengths custom manufactured cables are available, usually at a lower cost than a similar length from Sony .

//U

If you’re wondering what the “//U” suffix at the end of the camera’s model name denotes it’s purely to indicate that this product has been manufactured in Sony Broadcast’s European facility in Pencoed, Wales.

In summary:
The HXC-D70 provides far greater camera performance than anything else currently available on the market at its price point, hence it’s the natural choice for anyone seeking to build a new studio (or refit an existing one) without going to the expense of installing Triax or Fibre infrastructure.

I ‘cut my teeth’ shooting news & current affairs in the late ’80s and early ’90s.  In those ancient times the decision as to which format to shoot was joyously simple compared to that faced by today’s owner-operators because the overwhelmingly dominant format was Sony’s Betacam SP (In the UK only TV-am and Anglia Television had opted for Panasonic’s M-II format which although technically superior arrived too late for the majority who had committed to Betacam SP).  Pretty much every broadcaster, production company and facilities house was able to cope with Betacam SP format. 

When it came to choosing a camcorder there was also only a handful to choose from and in essence they all featured 2/3″ camera heads.  The lower cost (c£25,000) camcorders utilised IT (Interline transfer) CCDs which exhibited vertical smearing when exposed to bright highlights such as direct sun, car headlights, street lights etc.., whilst the more expensive cameras (c£36,000) incorporated FIT (Frame Interline Transfer) CCDs which eliminated the issue almost completely as well as variable shutter speed so that you could eliminate frame rolling when shooting computer screens.  Every so often an updated camera head with improved performance and additional features was introduced but the recording format remained the same.

Today the situation is completely different: There are more HD codecs, sensor sizes, media types and camera manufacturers than you can shake a stick at! Some broadcasters insist on their HD content being recorded at a 50Mb/s (or higher) data rate and image sensors of at least 1/2″ in size, others ‘approve’ a handful of 1/3″ cameras that record at 50Mb/s.  External recorders can often be used to gain broadcast approval for certain cameras whose sensors and signal processing meet broadcast requirements but their internal recording falls short of the 50Mb/s bar and of course there are several external recorders to choose from, including the Cinedeck Extreme, Convergent NanoFLASH & Gemini, AJA KiPro & KIPro mini and more…  In a nutshell, It’s complicated.

So, if you’re looking to invest in your own camera kit today is there a universally acceptable camera that’s the modern equivalent to a mid-1990s Betacam SP or DigiBeta?

On the face of it, this is the question we posed twelve months ago where we concluded that either the Panasonic AJ-HPX3100 or the Sony PMW-500 are ideal candidates for the vast majority of ENG, Documentary and corporate work.  

However, over the last year or so many producers have developed a seemingly insatiable appetite for footage derived from large sensor cameras that can deliver a shallow depth of field for use in controlled situations such as interviews, pop promos, commercials and dramas.  As a result the producers themselves are now frequently requesting the use of specific cameras for their projects in order to help create the aesthetic ‘look’ that they want to achieve.

At the low to mid price range these cameras usually include (in price ascending order) the Canon EOS 7D, EOS 5D Mark II, Panasonic AG-AF101, Sony NEX-FS100, PMW-F3 and the new Canon C300 which started shipping at the end of January 2012.

Large sensor cameras can deliver beautiful pictures with the kind of shallow DoF (Depth of Field) often associated with 35mm film so it’s not surprising that they’re in strong demand and have become established as an essential part of every camera operator’s tool kit.

But before we get carried away and sell our ENG camera in order to replace it with a large sensor camera it’s worth noting that these cameras should be treated as specialist ‘Digital Cinematography’ cameras rather than a replacement for a full size ENG style camera such as a Sony PMW-500.  This is for a variety of reasons, by no means least of which is that a shallow DoF is not always appropriate and should be used sparingly.  There’s a common misconception that all feature films are full of shallow focus and that everything looks better with a blurred foreground / background – But watch almost any feature film and you’ll notice that the majority of scenes contain a deep depth of field so that the audience can see not only the subject but the detail of the location too!  Shallow depth of field is reserved for occasional dramatic close-ups where all attention needs to be on the main subject(s).

An example of inappropriate use of a shallow depth of field would be a presenter PTC (piece to camera) in a news piece or documentary where the background is so soft that the viewer can’t tell where the person is!

A shallow DoF can also be a distinct disadvantage when trying to attain critical focus in live situations.  This is because it’s far more difficult to define and track moving objects maintaining critical focus when using a large sensor camera.

It’s worth noting that Sony have recently launched an 18x servo zoom lens (the SCL-Z18X140) which can be operated by the integral zoom rocker on their PMW-F3, it has a slow aperture of T/3.8 at its wide end.  Light transmission is not constant throughout the zoom range, worsening to T/6.5 at full telephoto…  Whilst this lens does greatly increase the versatility of the F3, making it the only large sensor camcorder that could be used ENG style, the fact is that if you need to shoot ENG style even an F3 with an SCL-Z18X140 is not in the same league as a PMW-500 equipped with a ‘proper’ HD Broadcast ENG-style lens like the latest Canon HJ22 or HJ14.  If you haven’t experienced one of these lenses on a full size ENG camera then you should do so at the first opportunity!

Because a large sensor camera is no match for the combined ergonomics, performance and lens options of a 2/3″ ENG camera we’ve established that a serious camera operator is going to need at least 2 cameras in their armoury…  A versatile full size shoulder-mount ENG style 2/3″ camera for the majority of shooting and then a large sensor camera on stand-by for creatively composed scenes where a shallow DoF adds aesthetic value to the production (or maybe saves a fortune in creating a highly detailed set!).

But that’s not all!

10 or so years ago compact handheld camcorders were (how can I put this nicely?) crap… If the main camera was Betacam SP any B-Roll footage from a DVCAM format PD150 intercut with it would stand out like a sore thumb.  Today there are many compact handheld camcorders that deliver pristine full HD images that are difficult for an untrained eye to distinguish from those sourced from a full size camera!  Whilst the ergonomics & lens of a compact camera aren’t a match for a full size unit these cameras are essential for use on occasions where you need to be discrete, looking more like a tourist than a pro, getting shots in places where obtaining official permission as media would be a red-tape nightmare…

So your third camera could be a Canon XF105, A JVC GY-HM150E or perhaps a Sony HXR-NX70E.  Any of these is good enough to act as a B-Roll camera or a backup in the event that you have a problem with your main camera.  The 24Mb/s AVCHD based Sony has the advantage of being rain & dust proof so you can shoot in conditions that would ‘kill’ other cameras, whereas the Canon can record internally at a Broadcaster-friendly 50Mb/s …  The JVC records at 35Mb/s and is equipped with a 3-CCD sensor which avoids any CMOS sensor derived rolling shutter effects…

And then there were three!

The fourth decision is minicams. Every owner-operator should have a minicam or two as part of their kit because on occasion they will deliver a unique POV (point of view) shot that adds incredible production value.  GoPro’s simple but robust HD Hero is under £300, comes with an underwater housing and mounting kit and captures remarkably good full HD images onto SD card media! For something a bit more sophisticated yet still simple to operate then a Sony HXR-MC1P is just the ticket, thanks to its remote head with 10x zoom, 2.4m cable and remote monitoring / control and recording in full HD AVCHD onto SD / MS Pro Duo cards.

And finally…

If you have the urge or need to grab shots in places where filming is not normally allowed then slip a pair of Sony DEV-5K 3D (&2D) recording binoculars into your bag.  You won’t look like a cameraman (or woman) at all and you’ll get away with filming at stations, airports etc…  See our short reeview  ‘Technomorphosis”

In summary

If I had to invest in only one camera it would be either a PMW-500 or an HPX3100 as for me these are by far the best all-rounders…  However, as the cost of cameras has fallen, manufacturers have developed new models to fill almost every possible niche and as a result our audiences expect far more.  One camera really is not enough these days!

Buying 5 or so cameras may sound excessive but it’s interesting to note that if you buy one from each category above you may still spend less than I did on a Beta SP kit around 20 years ago!

One last thing:  Let’s not overlook that the most important factor in creating the ‘look’ is the camera operator!

We can report that further to the theft by deception of a substantial amount of hire equipment from a prominent West London hire company (and CVP client) earlier this month by someone claiming to represent BBC Worldwide and producing forged BBC purchase orders, 4 men attempting to commit an almost identical crime against CVP have just been arrested at our London offices this afternoon.  Early indications are that CCTV images of the thieves from both locations match.