Fs100
The new Sony PMW 200
June/20/12 12:50 Filed in: Video Cameras
It’s pretty bitchin’
People have been complaining that they aren't putting pro codecs in these awesome cameras they're coming out with - like the FS100 and 700. Why a so-so AVCHD onboard codec, and not an established pro codec like XDCAM? Even the EX1 and EX3 are XDCAM EX 4:2:0 at 35 Mbps. This little unit is XDCAM 4:2:2 at 50 Mbps! Cool!
Again, though, I would like to see what this (new, I think) sensor looks like. Assuming it doesn't suck, the camera looks like a sure-thing-type good investment. TC in/out, Genlock in/out, SDI out…. it will likely get a lot of use in multi cam shoots due to the connectivity alone.
The big question is, "Where is the PMW-EX5?". Many expect that to be the next thing to drop.
People have been complaining that they aren't putting pro codecs in these awesome cameras they're coming out with - like the FS100 and 700. Why a so-so AVCHD onboard codec, and not an established pro codec like XDCAM? Even the EX1 and EX3 are XDCAM EX 4:2:0 at 35 Mbps. This little unit is XDCAM 4:2:2 at 50 Mbps! Cool!
Again, though, I would like to see what this (new, I think) sensor looks like. Assuming it doesn't suck, the camera looks like a sure-thing-type good investment. TC in/out, Genlock in/out, SDI out…. it will likely get a lot of use in multi cam shoots due to the connectivity alone.
The big question is, "Where is the PMW-EX5?". Many expect that to be the next thing to drop.
Comments
Sony FS100
August/31/12 12:46 Filed in: Video Cameras
This is some interesting footage.
http://nofilmschool.com/2012/08/sony-fs100-vs-blackmagic-cinema-camera-low-light-showdown/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+nofilmschool+%28NoFilmSchool%29
Unfortunately, it reminds me somewhat of the first Zacuto Shootout, where they set up a really difficult-to-image scene so you could see where the cameras/codecs broke. It doesn't tell you a whole lot more than that. In this situation, they both look pretty bad - except that you can see that RAW has a lot more latitude than the other codecs (no surprise there).
Based on this and other footage I've seen from the FS100, I would want to record to an external recorder. I still haven't seen anything really great from it even though it has a big sensor. But it seems like people are always posting torture tests or bad grades, and we're supposed to figure out what the cameras can do from that? That was what was so interesting about the recent Shootout, where they let people who work with the various cameras every day do what is necessary to make it look good. And they pretty much ALL looked good.
So it seems to me the biggest factors when buying a camera now are: What's it REALLY going to cost you to do the workflow the camera sets you up for, and does the camera have the functionality you need for working with it all day to do the type of shooting you do?
I would not want to give up all the standard, pro-camera type controls you get on a unit from one of the major manufacturers for the promise of potentially better images. Functionality is a big deal. As an example, a (former Oprah) guy that works for me on occasion, who does a lot of run-n-gun is bummed that all these cool cameras coming out are not standard broadcast-shoulder-mount style cameras. He just can't see having to put together some sort of rig just to be able to use it on his shoulder - and then he probably couldn't one-hand it!
Most of the new cameras are intended for cinema-style shooting. They are large-sensors to compete with DSLRs. That's why it's nice to see stuff like the PMW-200. Though it's not like the Sonys of the world have stopped making old-school cameras. It's that the technology in the new cameras is not immediately showing up in a familiar form.
http://nofilmschool.com/2012/08/sony-fs100-vs-blackmagic-cinema-camera-low-light-showdown/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+nofilmschool+%28NoFilmSchool%29
Unfortunately, it reminds me somewhat of the first Zacuto Shootout, where they set up a really difficult-to-image scene so you could see where the cameras/codecs broke. It doesn't tell you a whole lot more than that. In this situation, they both look pretty bad - except that you can see that RAW has a lot more latitude than the other codecs (no surprise there).
Based on this and other footage I've seen from the FS100, I would want to record to an external recorder. I still haven't seen anything really great from it even though it has a big sensor. But it seems like people are always posting torture tests or bad grades, and we're supposed to figure out what the cameras can do from that? That was what was so interesting about the recent Shootout, where they let people who work with the various cameras every day do what is necessary to make it look good. And they pretty much ALL looked good.
So it seems to me the biggest factors when buying a camera now are: What's it REALLY going to cost you to do the workflow the camera sets you up for, and does the camera have the functionality you need for working with it all day to do the type of shooting you do?
I would not want to give up all the standard, pro-camera type controls you get on a unit from one of the major manufacturers for the promise of potentially better images. Functionality is a big deal. As an example, a (former Oprah) guy that works for me on occasion, who does a lot of run-n-gun is bummed that all these cool cameras coming out are not standard broadcast-shoulder-mount style cameras. He just can't see having to put together some sort of rig just to be able to use it on his shoulder - and then he probably couldn't one-hand it!
Most of the new cameras are intended for cinema-style shooting. They are large-sensors to compete with DSLRs. That's why it's nice to see stuff like the PMW-200. Though it's not like the Sonys of the world have stopped making old-school cameras. It's that the technology in the new cameras is not immediately showing up in a familiar form.
Arri Amira - We Don' Need No Stinking 4K!
September/19/13 12:02 Filed in: Video Cameras
Yeah - no way I could afford it either - but it's pretty!
http://www.arri.com/amira/
The major thing is THEY BUILT A CAMERA THAT YOU CAN PICK UP AND SHOOT WITH like normal cams of yore! Did you see the adjustable shoulder rest and eyepiece?! Don't need an effing cage with crap bolted all over it! AND FULL QUALITY 200fps! Yowza indeed.
They have some over-the-top grading on the showreel stuff, but I generally like the look of Alexa-stuff over RED. Haven't ever really cared for the look of a lot RED footage - it seems to have a “hardness” that doesn’t appeal to me. Still like the look of Sony stuff though - guess I'm a traditionalist. They get slammed a lot for being excessively red-tinted by people who like the green-leaning look of Ikegami (if they're old like some of us) or the "moody" green grades you see in movies these days.
Still hope to one day either be able to afford (have jobs for) an F3, or maybe an FS-700. I keep thinking (thought the new EX-3 upgrade, the PMW-300 was going to be it - but it ain't) they're going to combine an EX-style camera with an F3-type sensor and such.
Good article on trying to make sense of sensor size and crop factor:
http://www.lensrentals.com/blog/2012/01/sensor-size-matters-part-1
It's skewed toward still cameras a bit, but overlaps video a fair amount. Haven't read the whole thing (makes my head hurt), but so far he's left out the whole 3-chip vs. 1-chip deal, which a lot of talk about sensor size tends to do. Read up on "de-Bayering" - what 1 chip large sensor cameras have to do to make 3 colors. You have to get up into the F5 kind of money, I believe, before you get into a camera that doesn't have to do a bunch of computational magic to simulate 3 colors (unlike traditional 3-chip cameras). But most people don't care or know about that. Big sensors do have a number of benefits that outweigh the negatives - particularly for people that don't ever have to deal with the technical issues!
The other big thing about most of these cameras is that you are typically looking at an investment of 1-2 times the cost of the camera body to fit it out with lens(es) and ancillary gear needed to make it function like a normal, full-on camcorder. Hence you have all these still photographers that led the charge into DSLR video, since they already had a significant investment in camera lenses.
Even with the Blackmagic Pocket Cinema Camera (around $1k), you kinda want a good all-around lens with Image Stabilization, etc. which is going to run you more than $1k -- then you need a boatload of spare batteries (they only last ½ hour) and high-end memory cards, blah blah. And it's only "Super 16" size (smaller than full 16).
Speaking of the BMPCC - this is a kinda nice piece shot on it, from Philip Bloom - though largely due to the light and the subject. If you were standing next to him with your camera (what ever it may be), you would have gotten some really nice footage as well.
https://vimeo.com/72996911
He did a lot of post on it with FilmConvert, etc.
http://philipbloom.net/2013/08/27/pocketcamera/
http://www.arri.com/amira/
The major thing is THEY BUILT A CAMERA THAT YOU CAN PICK UP AND SHOOT WITH like normal cams of yore! Did you see the adjustable shoulder rest and eyepiece?! Don't need an effing cage with crap bolted all over it! AND FULL QUALITY 200fps! Yowza indeed.
They have some over-the-top grading on the showreel stuff, but I generally like the look of Alexa-stuff over RED. Haven't ever really cared for the look of a lot RED footage - it seems to have a “hardness” that doesn’t appeal to me. Still like the look of Sony stuff though - guess I'm a traditionalist. They get slammed a lot for being excessively red-tinted by people who like the green-leaning look of Ikegami (if they're old like some of us) or the "moody" green grades you see in movies these days.
Still hope to one day either be able to afford (have jobs for) an F3, or maybe an FS-700. I keep thinking (thought the new EX-3 upgrade, the PMW-300 was going to be it - but it ain't) they're going to combine an EX-style camera with an F3-type sensor and such.
Good article on trying to make sense of sensor size and crop factor:
http://www.lensrentals.com/blog/2012/01/sensor-size-matters-part-1
It's skewed toward still cameras a bit, but overlaps video a fair amount. Haven't read the whole thing (makes my head hurt), but so far he's left out the whole 3-chip vs. 1-chip deal, which a lot of talk about sensor size tends to do. Read up on "de-Bayering" - what 1 chip large sensor cameras have to do to make 3 colors. You have to get up into the F5 kind of money, I believe, before you get into a camera that doesn't have to do a bunch of computational magic to simulate 3 colors (unlike traditional 3-chip cameras). But most people don't care or know about that. Big sensors do have a number of benefits that outweigh the negatives - particularly for people that don't ever have to deal with the technical issues!
The other big thing about most of these cameras is that you are typically looking at an investment of 1-2 times the cost of the camera body to fit it out with lens(es) and ancillary gear needed to make it function like a normal, full-on camcorder. Hence you have all these still photographers that led the charge into DSLR video, since they already had a significant investment in camera lenses.
Even with the Blackmagic Pocket Cinema Camera (around $1k), you kinda want a good all-around lens with Image Stabilization, etc. which is going to run you more than $1k -- then you need a boatload of spare batteries (they only last ½ hour) and high-end memory cards, blah blah. And it's only "Super 16" size (smaller than full 16).
Speaking of the BMPCC - this is a kinda nice piece shot on it, from Philip Bloom - though largely due to the light and the subject. If you were standing next to him with your camera (what ever it may be), you would have gotten some really nice footage as well.
https://vimeo.com/72996911
He did a lot of post on it with FilmConvert, etc.
http://philipbloom.net/2013/08/27/pocketcamera/