Above: the Epic with anamorphic lens
In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.
Above: the Epic with anamorphic lens
In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.
There’s just been some pretty startling research published by a university in the UK which could herald the biggest change to imaging since the switch from film to digital.
Indeed before it has even begun, 4K may become obsolete along with resolution itself – killed not by 8K or Super-Hi Vision but a completely different kind of technology. A vector based video codec has been developed at the University of Bath.
Sony have published a study into 4K in theaters. Called “Does 4K really make a difference?”. The advice is aimed at cinema companies upgrading to digital projection, who are faced with the choice of either 2K or 4K projection systems.
I’ve shot a comparison in Berlin today between my modified 5D Mark III and the standard 5D Mark III.
The modified 5D Mark III is similar to the Nikon D800E in that the anti-aliasing filter has been removed. (Which is why the modified 5D Mark III is dubbed 5D3E in the video).
But is it any good?

First and foremost – a huge thank you to James Miller for the inspiration and guidance
Disclaimer: I accept no liability, nor can I recommend this risky operation on your camera unless you are totally insane!
Over Easter I disassembled my 5D Mark III. The aim is to remove the optical low pass filter that sits in front of the sensor block, a drastic operation pioneered by James Miller last week. Removing it increases resolution in video mode and makes for a sharper image with no digital sharpening in post required.
With results that good on offer, why do you need to be bonkers to try it? Read on to find out how the teardown went…