The Blackmagic Micro Cinema Camera is the not-quite-a-replacement for the Pocket Cinema Camera. Although lacking the ready to shoot straight out of the box form factor of that camera, the new model adds a switchable rolling shutter / global shutter mode as well as high frame rates. 10bit ProRes, 12bit RAW and 13+ stop dynamic range for $995 round out the spec.
Panasonic now provide a smaller version of the VariCam S35 which is aimed squarely at the high end cinema market. The VariCam LT is Panasonic’s answer to the Alexa Mini and also competes with the Canon C300 Mark II and Sony F55 although at $18k for the body-only is a world away from the Sony FS7 pricing when it comes to the wider pro market for b-cameras and drones.
Comment on the forum Some of my favourite images are from cinema cameras and DSLRs from which attention has long since drifted elsewhere! Rest assured some of the older cameras on this list are better than any of the latest and greatest (if not in terms of usability then in terms of having an analogue film-like feel that screams “cinema” and not “digital”). Here are my top 5.
Blackmagic once again caused quite a stir at NAB with three new cameras. I like the URSA Mini the best but here we have the old Pocket and Studio cameras reincarnated. They are a lot cuter this time. These cameras are exceptionally innovative and certainly break all the known performance / size ratios. Although they look very similar on the surface they are aimed at very different users. I’ll now delve into how the pair of ‘identical twins’ differ in terms of personality…
I just received a tidbit of info from a reader. Apparently Blackmagic have a third camera we’ve not seen yet on any of the posters at NAB. The show opens shortly.
The crowd funding campaign for the AXIOM camera ends in just hours and has been a massive success, surpassing the funding target early. The open source cinema camera is backed by Magic Lantern, Philip Bloom and other leading lights of the DSLR community. It’s the people’s camera, taking control back into our own hands. What’s interesting is that it also unleashes Magic Lantern’s extraordinary ability for the first time outside the closed platform of a Canon DSLR. They now have hardware they can work directly with the manufacturer with, without any need to reverse engineer a DSLR. This for me is the future of Magic Lantern. To be their own open source camera designer and manufacturer …
The AJA CION is an upcoming digital filmmaking camera priced at $9k, based around the same sensor as the Blackmagic Production Camera. What this sample video demonstrates is that AJA seem to have applied some magic colour science to their implementation of the sensor. If you thought the 10bit 4K ProRes of the Blackmagic Production Camera and URSA looked good wait till you see this.
It’s an open secret that the Blackmagic Cinema Camera was based around a sCMOS sensor from Fairchild Imaging. Now the company has announced it’s successor, the sCMOS 2.0
Full information on the AMIRA can be seen at CVP Looking at the Oscar nominations recently at EOSHD, with not a Red camera in sight, it’s clear Arri are a run-away success in the filmmaking industry. Now Arri are gunning for the Canon C300 and C500 with a camera which could seriously erode the market for Cinema EOS cameras at the high end of the broadcast and single-operator videographer market. The Amira’s pricing starts at 25,980 euros which puts it in the Sony F55 and Canon C500 range. What’s the secret to Arri’s success?
Blackmagic CEO Grant Petty has revealed he approached camera manufacturers in 2011 with the idea of producing a DSLR-style model with high dynamic range and increased video quality but was turned down. “They don’t care about the product. Their only goal is to extract as much from the business as they can. It’s incredibly short-termist, and greedy”.