Fs700

Sony large sensor cams

The Large Sensor Camera that I have pixel envy for currently is the Sony F3:

F3

http://pro.sony.com/bbsc/ssr/show-highend/resource.solutions.bbsccms-assets-show-highend-pmwf3.shtml

They have a much cheaper version (NEX-FS 100U) that is really popular due to having the 35mm-ish-size sensor, but it is hobbled in a few ways from a video pro's perspective:

http://pro.sony.com/bbsc/ssr/micro-nxcamsite/resource.latest.bbsccms-assets-micro-nxcam-solutions-nexfs100ulanding

But they've just announced, pre-NAB the updated version which looks very cool (addresses a lot of the issues, plus does super slo-mo and will do full 4k with a future upgrade) the 700U:

http://www.engadget.com/2012/04/02/sony-nex-fs700-cinema-camera/


So the F3 costs too much but is awesome, the 100U is way cheaper but not something I would really want to own, but I'll be really interested to see exactly what and how much the 700 turns out to be - supposed to be under $10k, but I'm not sure if that's with or without lens.

I was kind of hoping for a little brother of the F3 rather than a big brother of the FS100, but I imagine they're selling a lot more 100's and they're cheaper to produce.  I still think there should be a PMW-EX5 or something that updates the EX1 and 3 to a large sensor.  But that's probably not possible in that camera's architecture - again, not sure, just wishful thinking.  This 700 could mostly be it.  Plus the path to 4k inspires confidence in its future viability.

I broke down and pimped my EX1 with a matte box, rails and focus knob from Shoot35.  Nice bang for the buck vs. the major players.  So now there's a place to mount the Samurai and 7" monitor.  
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The new Sony PMW 200

It’s pretty bitchin’


PMW200

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.

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Still cameras for video

My thought is still to use a video camera for video.  Too many hassles and compromises with using still cameras for video.  

It's cool if you are a still photographer who has a lot invested in lenses and you want to get into video, but if you're starting from scratch, the extra stuff you need will end up driving the cost up to the level of a dedicated video camera, and then it's not an integrated system.

This is the big problem with this whole trend toward what I might call 'mini-Cine' rigs - there's a lot of stuff and expense aside from the camera head itself.  Which is why for most of us, a PMW-type camera is ideal.  I mean, unless you really have a NEED for the interchangeable lenses that you get paid for (and will mostly be working cine-style).
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Sony PMW 300

PMW-300

I have a feeling that the new Sony PMW-300:

1)  It should be a good solid camera that may have a useful lifespan
2)  It's too little too late in some ways

The improvements over the existing EX cameras are incremental.  I had frankly hoped for some sort of merging of the EX's with the Fs700 or something along those lines, but I guess the EX-type camera is stuck being a half-inch, three-sensor deal.  I've been meaning to do some research on the tradeoffs between 3 chip and the big single chip cameras.

It certainly is nice to have 4:2:2 onboard recording, since regular XDCAM EX is getting long in the tooth, but it's not a huge difference, and I would still use it as simultaneous-record backup.  Once you go direct to ProRes, it's pretty hard to go back unless you have to.  But for those shooting handheld, and those shooting for Euro broadcast, it certainly makes sense.

The big question mark in my mind is, what will the implementation of the future XAVC codec upgrade be?  They are using that codec now in the F5 and F55.  Since it already will have 422 50Mbps recording, I'm assuming it will be the 444/ up to 300Mbps flavor.  That will likely require buying all new high speed cards to handle the data rate.  Plus the rest of the workflow that goes with it - which admittedly is less onerous than much of the 4k & RAW crap that's going on at the moment.

Speaking of which, I've been reading a lot the press and blogs about 4k and RAW, and I really don't see the need for either for a vast majority of shooters - unless you have a client who wants to pay for it, or you want it for your own project.  You pay a big price in terms of data rate, cards, hard drives, editing, money, etc. for differences most people can't see.  The compressed codecs are just too good for the most part.  Hell, I'm still shooting all 720p60, and my clients think it looks awesome.  Depends on what you're used to.

The other thing I wonder about XAVC is, being another implementation of H.264, what is its future once H.265 hits the real world?  The codec (aka HEVC - high efficiency video codec) has been officially released, and so it should just be a matter of time before it is implemented in cameras and such.  H.264 is 10 years old now.  H.265 is half the data rate for the same quality (allegedly).
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