[vimeo]http://vimeo.com/121238971[/vimeo] This is a marvellous example of what a single filmmaker can make out of thin air shot with real-world subject matter the film industry would consider “nothing”, using a tool that most pros would think is barely beyond “nothing” too.
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The latest news on cameras, from EOSHD
With the Olympus E-M5 Mark II we’ve been seduced. 40MP stills – oooh! High bitrate 24p – Ahh! The E-M5 II is a great camera. Let’s see how they’ve ruined it.
[vimeo]http://vimeo.com/110269871[/vimeo] I was a contributing writer on this review (along with my footage) and I think it is spot on about the a7S as a video tool. DP Review are mainly a photography site but this is the best review of a video orientated hybrid camera they’ve yet done. You can read my case for the camera at DPReview here!
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.
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…
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…
[vimeo]http://vimeo.com/120475177[/vimeo] 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…