At IBC AJA has shown the first footage from the CION camera. The footage was shot in 4K and has not been color graded. Image analysis is part scientific and part subjective. The subjective part of me likes what i see. It looks very pleasing and full of detail. View the clip in 1080p below. There’s also a clip from the IBC floor where an AJA rep shares a little more detail. We are taking CION pre-orders right now with a fully refundable deposit of $900. As a reward for your pre-order we are including $250 of store credit that you can use towards any purchase.
UPDATE: November 17th. We will be including a FREE Metabones Canon EF lens adapter with the purchase of the Sony FS7 cinema camera. Thats a $300 value, absolutely FREE.
We knew Sony had something special in store for us. Today we’ve seen what form that would take. Sony has officially shown the PXW-FS7 4K Super45mm XAVC CineAlta digital cinema camera.
What it is:
The FS7 sits between the FS700 and the F5 in Sony’s CineAlta lineup. It’s a compact light weight camera that is specifically designed to be as versatile as possible, fitting nicely into several markets. It will sell for $7,999 for the body. It features high speed shooting, internal 4K recording, and 12-bit RAW output for external recording. These specs certainly put it very closely in line with the F5. It features Sony’s E-mount lens system which is far easier to adapt to a wide variety of lenses then a PL or EF mount. It’s designed with a small shoulder rest under the body and a side mounted viewfinder but due to the compact nature of the camera it doesn’t have to be strictly shoulder mounted for off-tripod use. It also has a long extendable hand grip reminiscent of many film-style camera grips. It records to XQD cards in-camera.
The key specs:
The camera features an 8K Super35mm CMOS sensor. It has been loosely confirmed by Sony that it is the same sensor as the F5 and early image comparisons seem to indicate that it is the same. The camera will record 4K video in the XAVC format in-camera at 300mbps, 4:2:2, 10-bit I-frame specs. It can record internally at 4K up to 60fps. It can also record internal 1080p up to 180fps. The FS7 utilizes Sony S-Log3 picture parameters. It is powered by the BP-U series batteries utilized on Sony’s compact broadcast XDCam series cameras. There is also an expansion module available for $1,999. The module is a small block that clamps onto the back of the camera. It gives the camera a bit more of a true shoulder mount form-factor. When the module is attached the camera uses V-Lock style batteries. The module adds studio capability such as Gen-Lock and Timecode outputs. It also adds 12-bit RAW output for recording to a 4K external recorder like an Odyssey 7Q. The module also unlocks the ability to record ProRes 422 in-cameras. As with all announced Sony has announced ProRes on this is limited to 1080p, no 4K ProRes. Via the RAW output the camera will put out 240fps in 1080p.
The camera is expected to ship before the end of October. We are now officially taking pre-orders for it. We ask for a fully refundable 10% deposit to hold your place in our pre-order line. Please remember that we are a small company and that plays in your favor for pre-orders. While the big guys will get dozens and dozens, if not hundreds, of pre-orders, we won’t take more then a handful. That means when Sony starts shipping you’re more likely to get your camera earlier from us then the big box house.
More resources to check out:
How do you think a $5,000 Canon C100 stacks up against a $50,000 Arri Alexa? Lets find out. Shane Hurlbut was the D.P. on “Need for Speed”. Before they began shooting the film he performed extensive testing on the Arri Alexa compared to the Canon C500. He did exhaustive testing on technical elements as well as aesthetic elements. Clear your calendar and prepare for a long and detailed read. A big point that i want to stress is that the sensor in the C500 is the exact same sensor that is in the C300 and C100. If you are recording 1080p onto an external ProRes recorder the results from all 3 cameras will be identical. For those who think the C100 is just a glorified DSLR please read this review and consider that the C100 is actually a stripped down C500. Read the full article here.
This week we’ve got an impromptu shoot out happening. A customer of ours is deciding what 4k tool to add to his mix so we scheduled a shoot out with the Sony F55, the Canon C500, and the Canon 1DC. Then we though “why not let everyone benefit from having this gear here and ready to analyze.” So on Thursday August 22nd and Friday August 23rd we’re going to have these three cameras hooked to broadcast monitors, staged around a lit scene, and ready for critical analysis. If you’re debating any of these choice or you just like to look at fancy toys come on down and check it out. If you have a shoot out you’ve been dying to see let us set it up for you. Did you know we can arrange almost any demonstration you’d like? That’s what we’re here for. Give us a chance to earn your business. What cameras do you want to see side by side? Post by Eric C. Petrie
Blackmagic beta tester, John Brawley, is back with more footage from the new Blackmagic Cinema Pocket Camera. This time, John took the Blackmagic out on a rainy night in Sydney Australia. The footage was shot at 800 and 1600 ISO with a variety of lenses (you can find a detailed description on John’s Blog).
The results are stunning. No noise reduction was added to the footage, though it does have a light grade. Based on what we can tell (and considering Vimeo’s compression), the shadows are pretty clean. Furthermore, the wide dynamic rage is evident as well. With the exception of a few very dark shots, much of the detail in the shadows are preserved, while maintaining nice looking highlight hot spots. What is less evident is whether or not the Blackmagic Pocket Cinema Camera retains the sharpness of its older sibling, the original Blackmagic Cinema Camera. Though, again, that may have something to do with Vimeo’s compression. Until we see a side-by-side comparison similar to OneRiver Media’s demonstration from last year, I don’t know that we’ll get an accurate gauge for how aggressive the compression on the CinemaDNG footage, applied by the camera itself, really is. Read John Brawley’s full post here. By Eric C. Petrie