Technically, both shoot 10bit but the C200 is really going to be an 8bit camera for 95% of the people who use it.
This began as a 10 point list. It grew…
I am huge fan of the 1D C’s image but not the camera itself and especially not the price. The 1D C when it was introduced offered an absolutely lovely image and still does but now the playing field is rapidly changing.
Exactly how does the Sony A7S compare on paper to the 1D C?
Already we have 2 affordable 4K interchangeable lens cinema cameras due and we’re only a month into 2014.
Red Dalsa created the first 4K cinema cameras and these were first shot with on set in 2006 (The Dalsa Origin – Wikipedia)
Since then the rate of progress needed to commercialise such powerful hardware and sell it to consumers for $2000 in the case of the GH4 and $4000 for the Blackmagic Production Camera has been relatively speedy. Quicker than the time taken for full frame DSLRs to break the $2000 price barrier. Red never did succeed in making an affordable 4K cinema camera for the masses or a DSLR replacement.
Neither camera is entirely finished yet but I’ve seen footage from both the new cameras and shot with their predecessors for much of 2013. Here’s my opinion on how their strengths and weaknesses are going to work out…
The €3199 KineRAW MINI is the latest affordable raw cinema camera to be released. Featuring a 4K Super 35mm sensor it is a rival to the Blackmagic Production Camera and an alternative to shooting raw on the 5D Mark III with Magic Lantern. It shoots 2K / 1080p Cinema DNG uncompressed raw internally.
Having now spent more time with the camera for the full review (coming soon), I was curious to see how 5D Mark III raw video stacks up against a dedicated cinema camera with a sensor purpose built for video – not stills.
With the help of a new EOSHD test scene, we’re about to find out –