Aimed at the broadcast market but just as well equipped for high end cinema, the VariCam 35’s secret weapon is an efficient codec developed afresh – AVC Ultra 444 – and an industry standard Super 35mm sensor with PL mount.
Seb Farges (see his work on Vimeo) pointed out this rather interesting looking “Bellami HD-1” on his Facebook page earlier. OK this camera may turn out to be rubbish or it may be great fun!! Who knows – nothing is released beyond the picture. The real Digital Bolex is something I’d love to get my hands on sooner or later. I’ve used the same CCD sensor before in the Ikonoskop and found colour to be completely beautiful and unique, totally different to a CMOS sensor.
The Nikon D4S is a professional DSLR with a pro stills specification but only a consumer video specification. Nikon are marketing that consumer video spec as “professional video” when it’s nothing of the sort.
One of the first to receive a Blackmagic Production Camera in the UK (hoping to get mine next week for a review, shipments allowing) is James Miller, Philip Bloom’s friend and frequent shooting partner. As this impressive footage shows even though the camera is designed for general production rather than cinema, I am not missing that BMCC dynamic range here. The footage looks wonderfully cinematic and the camera appears to be a powerhouse of image quality, given the right handling, good light and material.
Pros are wondering what the benefit of 4K is to them in terms of overall image quality, when mastered and delivered for 2K / 1080p. A lot of work is still shot in 1080p and cameras like the Canon C300 are the workhorses of the moment.
In the case of the GH4 it may appear from the specs that it’s just an 8bit 4:2:0 camera internally.
Actually the theory is 8bit 4:2:0 4K material from this camera can be taken through a workflow in post that converts it to 10bit 4:4:4 1080p – with all the smoother tonality, better colour and workflow advantages that format brings. This is a big leap for 1080p based on the much more expensive C300 which only does 8bit 4:2:2.
I asked Go Pro’s David Newman (Sr. Dir. Software – follow on Twitter) whether this theory was correct…
The Olympus E-M1 is sitting on a goldmine. The 5 axis stabilisation system is heaven for video, but very little attention was given to video specs. The codec is only capable of recording in one frame rate, 30p, which is an NTSC rate completely unsuited to 70% of the world’s population living in Europe, the UK, China, Brazil and Australia. Consumers need 25p or 50p… and filmmakers are desperate for the 24p look!
Now Olympus are said to be working on a firmware update (source: 43rumors) that gives 21 steps of manual audio gain control (1 step more than the GH3).
Here is a summary of what else video users need.
I’ll start this review with a parable. It is a parable about an old man, who fell asleep…
Sony have now taken their Alpha re-think to the mid-range NEX 6 mirrorless camera. For video it looks like an interesting alternative to the ageing NEX 7, adding a 16:9 screen, zebra, dedicated movie mode, new sensor and uncompressed HDMI output.
It also points to some of the new features we’re sure to see on the NEX 7’s actual successor, the A7000.