Notes On Video

Canon Announces Development Of 4K Digital Cinema Cameras | Canon Press Release Canon sort of surprises by announcing a 4K DSLR and a 4K version of the C500. The later has no release date or price yet, though it's rumored to be around $30K Designated as the Cinema EOS C500* for use with EF-mount lenses, and the Cinema EOS C500 PL* for use with PL-mount lenses, the cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording, in response to growing expectations for higher levels of imaging performance in premium Hollywood films and other production markets requiring the utmost in picture quality. Canon U.S.A. Introduces EOS-1D C Digital SLR Camera Featuring 4K High-Resolution Video Capture | Canon Press Release At $15,000, I'm not too sure who this is aimed at: Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel)

Yesterday Sony Europe held a chat on Facebook covering the three cameras they have announced for NAB, including the NEX-FS700 . You can review the chat log here , but I've assembled the discussion of the NEX-FS700 into a more coherent - and readable - format below: Alvaro Ortiz, Kanta Yamamoto, Dave Stannard from Sony and Den Lennie of F-Stop Academy are on hand to answer your questions! Q: I have just bought the FS100, will sony be offering a trade in on for the FS100 when the fs700 arrives?? The FS700 addresses several issues that I have with the FS100. will Sony be able to help with thus upgrading?? Den : The FS700 is not an upgrade from FS100 it's priced at a different level so is designed to compliment rather than replace the FS100. There are times ie in my studio where Fs100 is great and FS700 would be overkill. Dave Stannard:  As Den said the NEX-FS700 addresses a different market segment on both pricing and feature set. At this point in time there is no plan

Racing with planes – shot on Sony NEX-FS700 | Peter Previc | Too Much Imagination Peter continues his posts on using the NEX-FS700 , this time concentrating on the slow-mo function: I only shot at full 1080P resolution so I didn’t test beyond 240fps. Reduced resolution didn’t interest me. You can record 8 seconds at 240fps and 9.5 second at 200fps (at 50Hz setting) and you end up with 1 minute and 15 seconds of super slow motion footage. You can set the trigger to be at the start, middle or at the end of action. I choose end trigger as you can wait for action to happen. You don’t need to expect it. An NEX-FS700 Amuse-Bouche | Adam Wilt | ProVideoCoalition Adam compiles a list of other posts about the NEX-FS700, while adding some of his own thoughts about shooting with the camera: 480 line-skips a fair amount (and appears, on the charts, to pixel-skip as well, though that might simply be an artifact of different demosaicing in slo-mo); 960fps further decimates the vertical res

LumoLabs: Nikon D800 video function demystified | Falk Lumo | Blog Everyone says you should be more concerned about the image; than how the image is created, but I'm always intrigued by the tech. Falk looked at the D800 and works out how it downsamples the data from the sensor to create the final image: The big discs are constructed such that the 1080p Nyquist frequency emerges at its outer circle. The two center discs have their edge at twice this Nyquist frequency and the four tiny discs at four times this frequency. Therefore, the false color moiré disc emerges at (149px/258px x2) or 1.155x the 1080p Nyquist frequency (1247 px). This means that the Nikon D800 samples ~1247 horizontal lines from its sensor. A dynamic range test between Alexa, RED MX and Super 16 | Daniel Freytag | Blog Daniel posts stills from cinematographer John Brawley 's test video comparing the dynamic range of the Alexa, RED MX and Super 16 cameras: Alexa was shot in LOG mode, recorded to PRO

An Examination of: Sony F3 and Red Scarlet; a Direct Comparison | Timur Civan | Blog A pretty detailed post that compares footage from the RED Scarlet and the Sony PMW-F3 . Neither camera lands a knock-out punch, though Timur notes "When it needs to look natural, I use the F3. When it needs to look crisp and slick, RED." The RED is simply razor sharp, has a punchy slick look, and has the easiest onset ergonomics and workflow. The footage is 16bit 4K RAW. I mean, the camera is the size of a Hassleblad and gives you amazing images. The F3 on the other hand, is night vision, which makes for simpler indie shooting on lower budgets where you dont have access to bigger units. It also has more useable dynamic rage, and its color is in my opinion the best in digital right now short of the Alexa. Canon 5D Mark III Light leak A little more info is popping up about the "light leak problem" with the Canon 5D Mark III . Is it a problem or is it not? There continue

Canon 5D Mark III Light Leak? | CanonRumors A report of a problem in the 5DMkIII where the light meter is being affected by the LCD light: A light leak issue in the 5D Mark III has been reported over the last couple of days. It seems the top side LCD may be to blame. I can confirm this is happening on at least one of the 5D Mark III’s I own (the rest are out for rent), I will look into the issue with more bodies in the coming days. This has caused some excitement; *UPDATE* REPORT: EOS 5D Mark III – Light Leak Issue? | HD Cam Team This is absolutely frustrating. How can Canon release a $3,500 camera body without carefully testing this? Just by turning LCD backlight on, or under bright light you get a wrong exposure metering? Who go on to use the occasion to point out problems they see in compression and the sharpening functionality of the camera. Yet several people on Twitter don't this as much of a problem, as the following post - which notes there's no leak to the im