by Graham Sheldon | 12th October 2016
RED Cinema is currently shipping not one, but two 8K Helium sensor cameras dubbed the RED Epic-W and RED Weapon. All the details, including footage, price, and information on how to upgrade your current RED camera below: Picture: RED Cinema My colleague Richard Lackey reported on the gorgeous new Helium 8K sensor back in July, and it seems RED Cinema has been busy working to expand their customer base for 8K beyond director Michael Bay. The Helium 8K sensor has spawned two great looking cameras, each with unique features, so let’s break down both. The RED 8K Helium Sensor itself is identical for both cameras with the following specifications: 35.4 megapixel CMOS Pixels: 8192×4320 Size: 29.90mm x 15.77mm 16.5+ stops dynamic range Here is the official RED Cinema EPIC-W intro video complete with footage out of the camera: Both cameras sport the user friendly DSMC2 form factor we first saw introduced with the RED Raven earlier this year. The DSMC2 form factor has prompted many wonderful third party accessories and it’s great to see that coming back. Both cameras also capture edit-friendly Apple ProRes 4K or Avid DNxHD/HR up to 30 fps. Beyond the sensor and module compatibility, each camera is a little different under the hood when it comes to data rate and frames per second options in 8K. RED Epic W: The RED Epic-W 8K S35 is built from black magnesium and aluminum alloy and shoots 8K (8192×4320) up to 30 fps, with a data rate of 275 MB/s and 6:1 REDCODE RAW at 8K 24 fps. Here is an unboxing video of the RED Epic-W from Marques Brownlee: Price: $29,500 for the Brain. Friendly reminder: you will need additional accessories beyond this before you have a shoot-ready rig, so budget accordingly. RED Weapon: The 8k S35 Weapon becomes the new flagship for RED with the capability to shoot 8K (8192×4320) up to 60fps at 300 MB/s, or 8K 75fps at 2.4:1. You can also get 5:1 REDCODE RAW 8K out of the camera at 24fps. The body is made from carbon fiber for an increased cool factor/protection and a slight reduction (0.5 lbs) to overall weight. There is also an anamorphic-capable Weapon shipping soon complete with upgrade path for existing Weapon owners. Price: $49,500 for the Brain. Friendly reminder: You will need additional accessories beyond this before you have a shoot ready rig, so budget accordingly. Picture: RED Cinema Upgrade Path: I’m a RED Epic Dragon owner/operator myself, and RED Cinema is working hard to keep me and other operators in the fold with a fantastic upgrade program. All the details for Epic, Scarlet and Dragon owners are below, but this upgrade program means some RED Dragon owners are looking at a price tag as low as $14,500 for upgrading to 8K. A few other manufacturers could take note of this program and follow suit; looking at you, Arri, Sony and Canon. Find out more information on RED owner pricing here. Picture: RED Cinema/Jarred Land Ready for 8K? Pick up a RED Epic-W or Weapon here. There will always be people out there asking a simple question: “Do we really need 8K?”. For me, the answer is clear: I’m always going to want to push the limits of what is possible with the tools I am given. 8K looks gorgeous and I’ll continue shooting higher and higher resolutions until my computer graphics card catches fire like a Samsung Galaxy note 7. Side view of the upcoming RED Weapon Anamorphic. Picture: RED CinemaRead more
by Graham Sheldon | 19th September 2016
Camera manufacturer Olympus announced the new OM-D E-M1 MK II camera today complete with a 4K 30p 20 megapixel sensor in a small “weatherproof” form factor. Details below. The new OM-D E-M1 MK II camera seems to be aimed at the adventure shooter group. With a small 1.3 pound body and weatherproofing that Olympus says will withstand dust, splashing and freezing, this is a camera that is meant to survive more than just those little “oops” moments. With the addition of the MK II, the OM-D E-M1 now includes 4K video recording options up to 30fps in 4K mode (3840 x 2160) and up to 24fps in Cinema 4K (4096×2160). Recording is available in .mov or .avi at a maximum bit rate of 237 Mbps. The 5-axis internal stabilization should also make for very steady handheld shooting. You can also internally shoot timelapses at 4K/5fps without a remote shutter trigger. Main Features of the Olympus OM-D E-M1 MK II at a Glance: New 20 Megapixel Live MOS Sensor 4K Video up to 30fps (3840×2160) and Cinema 4K upto 24fps (4096×2160) .MOV or .AVI Codec 3.0 Articulating Touch Monitor 121 Point Dual Auto Focus Pre-Record Feature 5-Axis Image Stabilization Dual SD Card Slot (UHS II Compatible) Weatherproofing: dust, splash and freezeproof Weight: 1.3 pounds. For stills shooters, Olympus has clearly prioritized auto focus features during the last two years of design and R&D work. This time around, Olympus promises very speedy 18 frames per second sequential shooting in RAW while in continuous AF mode. The “Pro Capture” feature is similar to other pre-record features we’ve seen on more video focused cameras, and Olympus promises you’ll be able to capture up-to 14 frames prior to fully pressing down the shutter button. The only feature that doesn’t seem quite in line with their adventurer focused design is the 3.0″ touch screen. Having a touch screen out in the wilderness seems problematic and a recipe for a very dirty screen. No new camera announcement is complete without at least a few additional lenses to round out your kit, and Olympus did not disappoint. Three new pro lenses were also announced today: New Lenses: M.ZUIKO Digital ED 25mm f1.2 PRO lens M.ZUIKO Digital ED 30mm f3.5 Macro lens M.ZUIKO Digital ED 12-100mm f4.0 PRO lens All the lenses are weatherproofed to protect against dust, freezing and water. Pricing has yet to be announced. Price: TBD Availability: TBD What do you think of the new OM-D EM-1 MK II? Comment below.Read more
by Graham Sheldon | 2nd September 2016
With new and significant camera announcements by Canon throughout many of their camera lines, there is one that certainly stands out — it’s the new “flagship”. In case you missed Nino’s announcement post on September 1st, the C700 is the new leading camera in Canon’s cinema line. Read on for my initial impressions of where the camera sits in the crowded cinema field. I’ll be the first to say I love Canon. I am a Canon fanboy. The Canon 1DC, C100 and C500 are all sitting on my shelf right now, and that’s the majority of the Canon “cinema” lineup. There is just something about that otherwise intangible, slightly warmer Canon image that keeps me coming back again and again to their cameras. Like many Cinema5D readers, I fell in love with the Canon 5D Mark II and haven’t looked back since. Until now. It’s clear that Canon listens to some feedback: the Canon C700 is unbelievable looking on the surface. With its 4.5K Raw sensor, better shoulder ergonomics, modular design, global shutter option, 4K 120fps capability (with an added attachment) and the same sensor as the Canon C300 Mark II, it all seems poised to produce a great image, and yet I find myself underwhelmed. Why? I’m underwhelmed because this feels like the camera I wanted two years ago. I love the Canon C500. They could have added a 6K sensor, better EVF, and better slow motion options and the camera would fly out the door as a true competitor to RED Cinema. Today, I am duty bound to compare the Canon C700 spec list with other cameras around its price range such as the Sony F55, Arri Amira and several RED Cinema cameras, not to mention the folks over at Blackmagic Design. The Canon C700 falls behind in categories such as resolution, frame rate options, dynamic range (though only slightly) and usability. Having to add an external module to record anything higher than 4K 60fps is a major pain point. I want everything done internally without adding weight and another device that can break in the field. What’s in the box The price, currently sitting at $28,000, is for the camera body alone and doesn’t include the OLED monitor, CFast 2.0 media, shoulder mount or the Codex external recording module. It’s expensive. It’s so expensive, in fact, that if you are seriously considering buying this camera you are either a rental house used to making this type of purchase, or you are an operator who already owns a RED, Arri, or Sony F55, and are thinking of switching. I just don’t see the C700 being the camera that convinces cinematographers to switch to Canon, which is a personal disappointment for me because I’ve been raving to skeptics about the C500 for years. If you review lists of the 2016 Oscar nominated films, you’ll note that the Best Picture nominees field is almost entirely dominated by Arri and RED. Sony is even struggling to make the cut. This tells us that Canon has a long way to go to break in to a very insulated group of filmmakers that stand by Arri. The Canon C700 doesn’t give filmmakers who require a cinema camera a reason to switch, and that’s a problem. Canon needed to knock this one out of the park and establish itself as the innovator in the higher end cinema camera environment. So much money goes into developing new cameras, and we anticipate the release of those cameras for years, so Canon needs to use the resources at their disposal that matter most: the filmmakers outside of the Canon community. To become a kit staple for the top DPs, you need to find out what they find crucially beneficial in the camera bodies they’re already using, and what luxuries you can innovate to bring them over to your side. Until I have this camera in my hands and I’m out in the field shooting, I’ll reserve my full judgement. But for now, take advantage of the price drop of the Canon C500 and grab an Odyssey 7Q+ for 4K and you’ll save yourself $20,0000+. What do you think? Is the Canon C700 going to dominate the next round of films being produced? Or, is this camera too little too late.Read more
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