The Sony AX100 takes the relatively large 1″ sensor from the RX10 and puts it in camcorder form factor with built in ND filter. However it appears that in reading out all the pixels on a 20MP sensor, Sony have created a skew-monster in rolling shutter teams. What’s remarkable about this video is that the panning and trains aren’t even moving very fast. This is some of the worst rolling shutter I’ve yet to see on any camera available on the market.
(The anamorphic footage starts around 10 seconds in)
The new SLR Magic Anamorphot 50 jointly developed with the help of EOSHD is here in it’s final non-prototype form and I’ve shot the above video with it (Sony FS100). This should give you an idea of how the flare moves around during a shot and the general anamorphic aesthetic you are able to get with the adapter.
Also part of the fun of the adapter is that like the Iscorama it sings with certain lenses, which all have a different look. I’ve been trying it out with a bunch of them…
Note: This is an early-days test I did quickly before a shoot today. A larger one encompassing more cameras (GH3, D5200, 5D Mark III, Blackmagic Pocket Camera) and scenes will be on EOSHD during the coming week.
The Sony RX10 appears to play in the same ballpark as the Sony FS100. Is this the new budget king for semi-pro videographers?
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 –
What is the real advantage of installing Magic Lantern for raw video on your Canon DSLR, specifically the powerful full frame 5D Mark III?
Is it possible to finally SHOW it? Yes it is.
Here is the most in-depth comparison yet between the standard video mode and raw and why the image quality is worth your attention.
Camera supplied by CVP who came through and fulfilled my pre-order from NAB in early April. Personal note: I was saddened to learn of the death of CEO Phil Baxter earlier this month and in Phil’s memory a fund has been set up which will donate a pot of cash to the Make A Wish Foundation UK charity. This charity helps fund memorable experiences for young people fighting life threatening illnesses. Donate here even just a small amount helps further the dreams of those kids.
The Blackmagic Pocket Camera is finally at EOSHD HQ, and comes from one of the first new batches to ship since the white orb sensor calibration issue was resolved. Have they fixed it? Let’s not get too caught up in things like that for the moment. For me this camera is all about the lenses.
I’ve been a Micro Four Thirds shooter since day one with the G1 back in 2008. This was the first camera to tempt me away from Canon and over the last 5 years I’ve been building a rather ridiculously obsessive collection of Micro Four Thirds glass for my GH1, GH2 and lately the GH3, as well as c-mount glass.
The best c-mount glass is mainly vintage Super 16mm from the 60’s and 70’s. Classics like the Kern Switar 26mm F1.1 for instance, which an ex-BBC cinematographer once described to me as being “made by spacemen” such was the performance before the technological era of computer assisted optics design.
I had a hands on with the new Sigma 35mm F1.4 DG HSM ART today, and compared it to my Leica Summicron-R 35mm F2.0, a $1200 lens.
Above – EOSHD “raw rig” above is comprised of the Lanparte BMCC cage with 5D Mark III and LanParte follow focus / carbon matte box from HDVideoShop
Slashcam and I set out to test the 5D Mark III’s crop mode as precisely as possible using a chart – it is possible thanks to 100% accurate framing in crop mode with the black & white Magic Lantern live-view preview mode. Further optimisations to the buffer handling by Alex at Magic Lantern aims to make higher resolutions such as 2560 x 960 at 98MB/s sustainable for longer or even continuous.