One of the growing realisations I have had over the last 2 years of upgrading my camera equipment is that it’s made me less creative. It’s time to bring EOSHD back to the stuff I love.
Here’s a new cinema camera, the Maestro by French electronics firm NexVision. They’re building a Super 35mm 4K camera backed by NVidia image processor and the same sensor as the AJA CION. The design concept is also very similar.
At Photokina 2014 I gave my first impressions of the prototype SLR Magic Anamorphic 2x on the GH4. Now I have a newer version of the lens with me in Berlin to see how it compares to my other anamorphic lenses.
Unlike the previous SLR Magic Anamorphot 1.33x, this is a 2:1 anamorphic, which is the cinema standard (and the look that goes with it).
Due to feedback from filmmakers in favour of smaller cameras Arri has introduced the Mini – but the timing is very interesting.
We are just over 1 month away from NAB in early April. The Alexa Mini is still a prototype and it isn’t due to ship until May. Clearly in the long term development process of this camera Arri aimed for NAB 2015 – so why rush out an announcement and a rough looking prototype at BVE in February?
This is the clearest signal yet that new Cinema EOS cameras are coming at NAB and Arri wanted to avoid having their announcement drowned out by a glut of other cameras.
So let’s look ahead just 1 month and predict what the C300 Mark II will look like…And whether a new 4K DSLR is coming from Canon too.
It’s well known that DSLR sales are sliding now, following the worrying trajectory of compact cameras.
Then I read with great interest Vincent Laforet’s prediction that the era of stand-alone cameras is coming to an abrupt end for the mass market.
There was a very key chart in that blog post which you can see above. I believe it speaks volumes about why the mass market is migrating from hardware focussed imaging tools like DSLRs to innovative new growth areas like apps and services orientated smartphones.
Incidentally in our own little world of DSLR video, this is also why Canon were so utterly wrong to dismiss Magic Lantern as a intolerable ‘hack’.
Let’s diagnose the problem and suggest the solution…
Ferrari have a DNA. Cinema cameras have a DNA. You have to go back decades to see it evolve into the force it is today. For Ferrari it is the very specific engine sound and the looks. Arri are that spirit to cinema cameras. The DNA of the Sony FS7 is a compromise. Half EX1 and half cinema camera, the ergonomics of the buttons, dials and menus need a complete overhaul in my opinion. So Sony haven’t got it all right yet but what they have done is put a Ferrari engine inside. The FS7 for £5199+VAT is an absolute bargain, with an ‘engine’ almost on par with a £18,000 F55 (though without global shutter). It’s a much more capable camera than the Canon C300 or Panasonic GH4.
The KineMAX 6K cinema camera is nearing a release and I might have my hands on a prototype soon here in Berlin (I happen to be down the road from my friends at HDVideoShop who are the official European dealer). This is a significantly higher spec cinema camera on paper than anything else under the price of a Red Dragon for now.
Kinefinity have just released the first 6K footage from the camera and even some original material direct from the SSD card is available, for grading trials.
The Canon C300 (currently reduced to $11,500) was the $15,000 stalwart of the professional videographer, only recently did it have a compelling rival – the Sony FS7.
The Samsung NX1 is essentially a cutting edge 4K Super 35mm sensor in a mirrorless camera, recently given a video oriented firmware update which improves dynamic range and the available image profiles.
I was curious to see how the images from these cameras compared and I put my Canon 1D C into the mix as well.