Ich bin ein Berliner!
It’s 2018 and a good video feature arrives on a Canon! I immediately assume it’s an accident, so taunt is the leash Canon has on video specs. Indeed, what makes the M50 appealing to me is the happy accident of what crop factor you get when you cut an 8 megapixel window out of a 24 megapixel sensor. All the best things are happy accidents when it comes to Canon, who gave us DSLR video by accident, then later RAW video on a 5D Mark III with Magic Lantern by accident, then with the M50’s ridiculous crop – a Super 16mm camera!
The GH5 has the chunkiest 10bit files I’ve ever seen for $2000. Some of the lenses are even more of a bargain.
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.
Above: EOSHD picked up this Bolex H16 for under 400 euros – it came with a complete set of Schneider Xenon lenses
I love the 16mm and Super 16mm format and there are two cameras on the horizon that could offer very exciting images. Digital Bolex with their global shutter, raw and extensive feature set then Blackmagic with their diminutive Pocket Cinema Camera which shoots ProRes and raw.
With only weeks to go until the expected Pocket Cinema Camera shipping data I’ve been stocking up on c-mount lenses. Here’s a guide to which ones work, which ones don’t, and how to spot a bargain.
Now I love this kind of enterprising spirit. A passion for filmmaking, a passion for technology and a “let’s build a rocket” mentality. The Digital Bolex project which seeks to build a digital cinema camera for indie filmmakers has now succeeded in passing their $100,000 target in just 24hrs – helped by taking pre-orders for the camera at $2500 each. In fact it is set to break $200,000 in just 48hrs. A runaway success…
Will the customers get what they paid for? There are many ways to look at the Digital Bolex. Here are my 10 perspectives…
I have the idea to make a tense but beautiful low light, budget thriller with the Nikon J1. It is ideally suited to it. It has the least amount of rolling shutter for handheld camera movement of all the DSLRs and mirrorless cameras, and the smaller sensor (2.7x crop) makes it far easier to focus at fast apertures like F1.2 for low light. At that aperture on full frame you will have a nose in focus, but eyes off! Not much good.
Consumer 4K is on the way, it is now as inevitable as the first 1080p stickers were on your TVs and cameras of 5 years ago. In an interview with DPReview, Nikon’s Tetsuya Yamamoto says that the Nikon J1’s (Aptina produced) sensor is already capable of a 4K horizontal resolution in video mode (although he doesn’t reveal the vertical resolution which I suspect would be lower than 2K).