The Sony RX1 has amazing stills but awful video! I began thinking how could I use this otherwise great little camera for video? The answer is to rough up the image beyond comprehension, with trick filters. Here’s how I did it.
Engaging the uninterested general public with dedicated cameras was never going to be sustainable – not with smartphones around.
But I think the decline of consumer DSLRs will actually be the best thing to happen to photography and video in the digital era.
Finally companies will have to get innovative, putting more weight behind enthusiast and pro orientated camera line-ups.
What is the real advantage of installing Magic Lantern for raw video on your Canon DSLR, specifically the powerful full frame 5D Mark III?
Is it possible to finally SHOW it? Yes it is.
Here is the most in-depth comparison yet between the standard video mode and raw and why the image quality is worth your attention.
Compelling Panasonic GH4 rumours have come in from two good sources. Disclaimer: I’m not a rumours site but if I was I’d give this a high rating. That said, it’s still a rumour! Nothing official has been announced by Panasonic.
The model has a pro-range product code. It will be dubbed the Panasonic AG-GH4.
68GB worth of material was used to get a studio based test this finely tuned, with the cameras matched in post as close as possible. This effort to remove the variables of grading and camera settings leaves behind a truer picture of the differences in hardware capabilities.
The 5D Mark III raw (from Magic Lantern), if it were a film stock, would be Fuji. Warm vivid colours which may need taming a bit in post. The Blackmagic is more Kodak, cooler and more muted, it often requires the opposite treatment in post to the Canon cameras. The 7D is totally back from the dead – with Magic Lantern raw and the Mosaic Engineering VAF-7D tested here, it offers lovely image quality from a Super 35mm sized sensor, at a similar price to the Pocket Cinema Camera. The Panasonic GH3 – best of the standard system cameras out of the box without modifications does a good job keeping up with them.
The scene was lit three ways to test resolution, dynamic range and low light performance.
According to Imaging Resource the new video mode of the new Sony RX10 with 1″ sensor is a big step forwards. The RX10′s sensor reads out the entire 5472 x 3080 frame at 60fps sending the maximum amount of raw video data to the image processor.
The new Bionz X processor is designed to take the 5K video stream (for the first time). The advantage is that Bionz X can intelligently downsample and compress to 1080p from a much higher baseline than usual.
The full frame Sony A7 and A7R are disappointing for lacking 4K and a high bitrate codec (the time is now…), choosing to stay with 1080p and AVCHD from the last generation. However Sony have pushed on in other areas and are promising “pro-quality” video. Marketing speak or genuine breakthrough? Let’s take a closer look…
Although it’s yet to be officially announced, the A7 and A7r have been heavily leaked. All along I have been saying mirrorless is the future, not the low end consumer proposition the manufacturers seem to think it is. Canon and Nikon ignored the high end mirrorless technology and now it is pay back time. Sony, already ahead of Canon on full frame sensor performance, looks set to steal a huge chunk of the enthusiast DSLR market away from the 6D and 5D Mark III with these new E-mount Alpha cameras.
This article mainly deals with the X100S from a photographic perspective. Video is coming in the full review next week.
The old X100 was fatally flawed in my view. Manual focus with a massive lag between moving the focus ring and the clunky focus stepping itself. Very sluggish AF and a long minimum focus distance. We’re not talking macro here but just basic portrait stuff. Entering macro mode for portraits or even not particular close close-ups was a hassle.
All this and more is fixed on the X100S, which is a major upgrade that totally belies the similar external appearance, including 1080/60p video.
“The Pocket” is a polarising camera. It’s as tempting to rave about the camera as it is to criticise it for obvious shortcomings.
However – bottom line is that this is an extraordinary tool. It is 90% of what I loved about the Blackmagic Cinema Camera without the bulk and strange form factor. In my mind it replaces the Panasonic GH2 as the cult favourite of prosumer video because it has an absolutely beautiful film like output and a very accessible price.
Camera supplied by CVP who came through and fulfilled my pre-order from NAB in early April. Personal note: I was saddened to learn of the death of CEO Phil Baxter earlier this month and in Phil’s memory a fund has been set up which will donate a pot of cash to the Make A Wish Foundation UK charity. This charity helps fund memorable experiences for young people fighting life threatening illnesses. Donate here even just a small amount helps further the dreams of those kids.
The Blackmagic Pocket Camera is finally at EOSHD HQ, and comes from one of the first new batches to ship since the white orb sensor calibration issue was resolved. Have they fixed it? Let’s not get too caught up in things like that for the moment. For me this camera is all about the lenses.
I’ve been a Micro Four Thirds shooter since day one with the G1 back in 2008. This was the first camera to tempt me away from Canon and over the last 5 years I’ve been building a rather ridiculously obsessive collection of Micro Four Thirds glass for my GH1, GH2 and lately the GH3, as well as c-mount glass.
The best c-mount glass is mainly vintage Super 16mm from the 60′s and 70′s. Classics like the Kern Switar 26mm F1.1 for instance, which an ex-BBC cinematographer once described to me as being “made by spacemen” such was the performance before the technological era of computer assisted optics design.