You might have heard about that JVC has now also entered the large sensor market. And that this intriguing little camera covers super35mm on an MFT mount, which makes no sense. Oh but it does make sense, and the looks of this camera are truly noteworthy, so read on for all the details. As Edgar Shane from JVC put it this lens mount is MFT and many people rightfully say that MFT lenses shouldn’t cover its super35mmm sized sensor. But apparently there are quite a few lenses that will cover it very well and the Olympus models Edgar mentioned are just the tip of the iceberg. Some examples of lenses that cover super35 or more include the famous Samyang cine lenses, most of which have been adapted to MFT and will cover a full frame sensor. If you’re into cine-glass, there’s the whole range of Zeiss’ lovely CP.2 primes with interchangeable lensmount that can all be equipped with their respective MFT base. Add to that any other lens you might want to use with the numerous adapters from MFT to any other lens mount system. If you’re into using a zoom rocker again, there are even lenses by Panasonic like this one that incorporate internal zoom electronics and will be activated by the JVC’s zoom rocker. In terms of specs the JVC GY-LSX2 has some really intriguing figures to offer. Not only is it very small and looks very ergonomic to handle, but it offers 4K with frame rates up to 30p as well as a slow motion feature at 2K resolution that will go up to 240fps. The footage is being recorded internally with an h.264 kind of codec. Given JVC’s history in sensor design one can expect the lowlight capabilities to be at least acceptable. The quality of the footage itself looked very impressive. There was a 4K screen nearby that showed helicopter footage with great detail. While the brilliance of other 4K footage recorded by a RED camera on a second screen also nearby couldn’t be matched, the results were quite remarkable. This footage is yet to hit the internet. The JVC GY-LSX2 is announced with a price point “under $6000” and to come at the end of 2014. The bigger brother, called GY-LSX1 will feature a higher framerate (60p) at 4K resolution, offer a shoulder-mount form factor and seems to come in at around twice the price of the small one. There might be other features to justify the higher price point as well.Read more
Arri’s announcement of the AMIRA back in September at IBC raised a few eyebrows. With every major camera manufacturer pushing 4K acquisition through their flagship lines, Arri announces a brand new camera capable of recording at a maximum 2k. With a price range up in the air, it wasn’t clear just where this would sit in the market (although with a name tag like Arri, most of us had a pretty good idea). This morning, Europe retailer CVP has just revealed a 3 tier pricing system for the AMIRA. The AMIRA is an ALEXA on a strict diet, it shaves off nearly half its weight and girth, loses it’s raw abilities and is designed for single user operation; this is evident by the rotation of the controls on the operating side (the ALEXA utilizes the better known dumb side for it’s primarily configuration for ease of use with an assistant). I attended a local presentation of the AMIRA hosted by Arri, to see what the camera was like first hand and to understand the reasoning behind Arris investment in another sub 4K camera. Their answer to the latter was simple – 4K output is still in a very premature state, it will be years before it’s properly implemented into the public domain. 4Ks current best use is to improve Full HD acquisition, by form of sampling, downscaling and correction. This is why Arri chose Full HD/2K as the resolution choice for the AMIRA, which in parallel with the pricing and ergonomics gives you a good idea of where they want this to sit in the market. Arri are targeting TV broadcast, specifically drama and documentary where a lighter footprint than the ALEXA is required; I’m sure as a result the AMIRA will out price many people’s realistic wish list. With that said, here are CVP’s pricing tiers. As these are initial prices, I predict them to be lower by the time they come to market, specifically the US market (with them being European prices). Arri AMIRA package 1 – €25,980 Arri AMIRA package 2 – €28,980 Arri AMIRA package 3 – €32,980 Click on below thumbnails to enlarge. In a brief summary, the initial tier offers an AMIRA package capable of shooting ProRes 422 up to 100FPS. The second tier extends the FPS to 200, with the addition of the unlimited looks functions, Wi-Fi and Bluetooth and ProRes 422 HQ and Log-C capture. The third tier provides up to 2K resolution capture in ProRes 4444, and import of custom 3D LUTs. For a summary on the specification of the AMIRA, please visit our initial article from IBC. In addition to this, I can confirm Arri are planning an in-field removable lens mount with PL, Canon EF and 2/3″ (via glass adaptor) compatibility.Read more
As shooting RAW is getting ever more popular among low budget productions and 4K is starting to become a requirement the Sony FS700 in combination with the R5 RAW recorder looks like an interesting proposal. The update for Sony’s S700 was presented this summer and while the option to record RAW at slomo speeds up to 240 fps was intriguing, the size and cost of the setup is for many a big downside.Read more
Arri just announced a run-and-gun camera that seems to fulfill every documentary filmmakers dream. A complete “compact” working tool with Arri Alexa quality, slow motion capabilities, zoom control and no setup time working right out of the box. You could think of it like an old fashioned video camera that had all the ergonomics and versatility laid out for fast one-man poduction, be it a documentary film or news gathering or old fashioned home videos. Here’s a complete solution that brings back all these qualities but made for “cinema” grade results made by the most reliable camera manufacturer of our time. This is an exciting product, so exciting we know it’s going to cost a lot more than most of us could afford. This is definitely a rental camera, not like a 650D you’ve got lying around in your equipment drawer. This is a serious cinema camera, not only for its sensor design, but also because it brings what the Arri Alexa provided: the ergonomics, quality and workflow that helps filmmakers make the best images possible. In terms of workflow Arri integrated “CFast 2.0” which is an in-camera CF memory slot with super-quick data rates. CFast 2.0 is an open format said to deliver a fantastic price-performance ratio through incredible transfer speeds, long recording times and compatibility with standard IT tools. Costs per GB are brought down and higher-than-broadcast-quality image pipelines are made available even to low budget productions. Here are the key features of Arri’s new Amira: • Ready to pick up and shoot straight out of the camera bag. (including startup) • creative liberation through functional, user-friendly design. • same amazing sensor as Arri Alexa. • records HD 1080 or 2K (with 4K imager). • 14 stops (clean!) dynamic range. • up to 200fps. • ProRes LT, 422, 422HQ or 444 codecs. • Integrated, motorized ND filters. • peaking, false color, zebra. • OLED viewfinder with extendable LCD on the side. • comes with a number of preloaded 3D LUT-based looks for fast grading. And here’s a sentence from the press-release concerning durability that just has to be quoted: AMIRA is a highly durable product constructed of the strongest possible materials. Sealed electronics provide top-level protection against humidity and dust, while an integrated thermal core results in highly efficient cooling. Productions can take AMIRA anywhere, from jungles and deserts to snow-capped mountain tops, sure in the knowledge that it will not let them down. There are many productions this product is perfectly tailored to. You can be sure this camera will take the video and cinema production world by storm.Read more
Things have been very quiet over in the Digital Bolex camp. In March 2012 the Kickstarter campaign kicked up a lot of fuss (pun not intended), promising 2k raw DNG via a camera in form of a Digital Bolex, with a CCD global shutter. Since then little has been said, and Black Magic has taken to the stage with release of 4 competing cameras. (which ironically are not much farther ahead of Bolex in terms of public release). Apart from a specification list and clean cut branding, we’ve only had prototype pictures to lust over. Until yesterday when Joe Rubinstein of Digital Bolex posted the first sample DNG images from the camera. The images can be seen below, taken with a collection of vintage primes (in descending order) a 15mm Elitar Soligor, 26mm Kern-Paillard Pizar AR, and Canon 50mm 0.95.Read more
After Kineraw recently started shipping their first 4K cinema camera they just presented their new Kineraw MINI here at NAB: A portable camera that delivers a very brilliant 2K RAW image from a 4K sensor. It costs $3000 and it will start shipping in a month. Just when we thought NAB had not much more to offer than a lot of hype around 4K, we found ourselves spending over an hour at the booth of Chinese cinema camera maker KINERAW. Read on to understand why.Read more
[UPDATE]: Pricing information on the new Kinefinity camera has been made official. The Chinese Alexa clone 2K digital cinema camera will start at $6300. The basic kit lacks HD-SDI and WiFi (these are added extras) but you won’t be facing the kind of additional expense that a Red Scarlet body entails. 3 XLR audio jacks, HDMI for monitoring and standard generic SSD drives are the order of the day for the basic Kineraw kit.Read more
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