The NEX 5N is a tiny camera but it starts to really look the part when you add a chunky lens and monitor. The only problem is how do you mount a large lens to a small camera without damaging the mount, and how do you mount a monitor without a hotshoe or a rig?
The NEX 5N’s APS-C sensor behind a mirrorless mount opens up some new possibilities when it comes to adapting lenses for video.
In part 1 I will cover recommended adapters and small walk-around street photography lenses which don’t compromise the compact size of the NEX 5N as a b-roll cam and digital rangefinder. There’s only one Sony pancake at the moment and it’s not very good so these are the answer.
In part 2 I will cover the larger standard SLR primes.
A flare just went up from a very large Canon video ship indeed.
Expect the 5D Mark 3 or an interchangeable lens camera. It is a red carpet event in Hollywood for November 3rd.
Hints at future video capabilities have unfolded today. As yet they’re not directly DSLR related – but DIGIC 5 is the same processor Canon will use in the 5D Mark 3. It has been redeveloped from the ground-up with better performance, faster operation and new noise reduction technology.
Left: Canon’s Kiso Sensor, right the 5D Mark II’s sensor, inset a telescope at the Kiso observatory in Japan.
The huge Canon CMOS revealed last year wasn’t just a marketing or R&D ploy after all, it has been put to practical use. The sensor does extraordinary low light 60fps video (no word on resolution) of the night sky at the Schmidt telescope in Tokyo.
The biggest issue with Canon DSLRs is the rainbows – I don’t so much mind the lack of resolving power relative the GH2, sometimes a softer image is more organic and cinematic. Certainly when you project the footage on a big screen and sit back, it looks detailed enough yet organic. Quite unlike on an LCD monitor. The worst thing you can have is an image that isn’t organic but over-sharpened with the bright high contrast jagged lines around every single detail – it’s extremely tiring on the eyes and very DV.
Above: the old Premiere logo. Adobe’s prancing horse to Apple’s donkey.
Final Cut Pro X has been sitting on my machine alongside Premiere Pro CS5.5 and Final Cut Pro 7 since its release a few months ago, and after the initial week of getting to know it I haven’t used it once.
It’s a dead duck.
Sony have made a splash with their first credible video DSLR, the NEX 5N. In my view I still prefer the GH2’s image – Panasonic knocked the image processing into a different league for a DSLR on that and the hack furthers it – but the 5N has a very good sensor and a new processor. Out of the box it looks very electronic though. Here’s how to tune it.