Pro large sensor, interchangeable lens Sony NEX-EA50 shoulder mount camcorder now costs less than a Handycam!

You can now pick up a sale-priced Sony NEX-EA50UH professional APS-C interchangeable lens camcorder with a shoulder mount, a 18-200mm power zoom lens and XLR mic inputs for $2299 - less than the cost of the NEX-VG30 Handycam with the same lens and a 3.5mm consumer mic input.

These cameras may be limited to 1080p 4:2:0 recording in a 4K 4:2:2 world - but NEX-EA50 shooters such as Henry D.C. Williams nevertheless continue to produce some very good work:






If you're an NEX shooter who wants to upgrade to a professional large sensor camcorder, but who doesn't need 4K, this deal may be for you.

As always, if anything here has helped you to make a purchase decision, please shop using the links above or the displays below and in the margins. And even if you're not in the market for a new camera, please comment and make suggestions below. It won't cost you anything extra, and it will help to keep these posts coming.

And for the latest deals, news, tips and techniques, please follow HCR on Blogger, Twitter and YouTube  - and circle us on Google+.

Finally - sample video from the new $4450 "4K" MFT mount Super 35 JVC GY-LS300

After its introduction and a press release from JVC a couple of months ago, we haven't heard much about this camera.  With its Super 35mm sensor, micro 4/3 interchangeable lens mount, UHD/30p or UHD/24p recording, internal 4:2:2, dual card slots, 3 built in ND filters, shotgun mic, XLR jacks, top handle and camcorder form factor, the LS300 has remained a tantalizing prospect.

This was especially true since JVC priced it at just $4450, the lowest price point ever for a Super 35mm "4K" camcorder and only about $500 more than it would cost to buy a $3297 GH4/YAGH combo plus the $599 Metabones Speed Booster/Focal Reducer the GH4 needs in order to mimic a Super 35 crop.

With a GH4, however, you would still need to buy the top handle, ND filter and mic.  And dual card slots are not an option.

That said, we have seen impressive 4K video from the GH4 - but we have had no idea what kind of images the LS300 would produce - and JVC wasn't talking.

Well, that's starting to change.  JVC announced a few days ago that they would take the LS300 to Sundance this week to show it off to independent filmmakers  - and rental house Delimex in Belgium has the camera in stock and has produced a slick narrative style short to promote it.

Here's the video (hat tip to Philip Johnston, the HD Warrior, for the find):





Sadly, the clip is downscaled to 1080p HD, so we don't get the full benefit of Ultra HD - and there's not much motion, so we can't tell whether the sensor has a challenge with CMOS skew - but the skin tones look natural, the blacks seem to hold up in low light and the bokeh is gorgeous.

This is the first JVC camera that looks to be competitive with sub-$10,000 large sensor, interchangeable lens 4K/UHD camcorders from Sony, Blackmagic, Aja, and Kinefinity.  And its feature set and UHD resolution make the $4499 1080p-only dual pixel Canon C100 look overpriced.

Note that Panasonic is MIA from this list. Unfortunately for Panasonic, since Sony's NEX-FS100 trumped their AG-AF100 back in 2010, the company seems to have ceded this market to its competitors.

With the introduction of the Varicam 35, GH4, FS1000 and LX100 in 2014, Panasonic is now competitive at both the low end and the high end  - but they left a huge gap in the middle, and JVC has driven through it with a truck.

It is long past time for Panasonic to replace the aging AF100 with a modern large sensor camcorder - but the market will not wait for them.

Personally, I'm saving my nickels for a sub-$10,000 4K Super 35 camcorder, and right now, the LS300 is one of the top contenders, along with the $5995 Blackmagic URSA and its global shutter.

As always, if anything here has helped you to make a purchase decision, please shop using the links above or the displays below and in the margins. And even if you're not in the market for a new camera, please comment and make suggestions below. It won't cost you anything extra, and it will help to keep these posts coming.

And for the latest deals, news, tips and techniques, please follow HCR on Blogger, Twitter and YouTube and circle us on Google+.

Sony PXW-X70 4K-ready camcorder shipping now!

If you're tired of waiting for your pre-order from one of the big online retailers - you can get the brand new Sony PXW-X70 right now from Electronics Valley via eBay if you're willing to pay $2402.46.

This is the first 1" sensor pro camcorder with XLR inputs, dual SD card recording, a built-in ND filter, HD-SDI out and the robust 10-bit 4:2:2 XAVC codec - and Sony has promised a 4K (UHD) firmware upgrade soon.

DSLR/DSLM shooters who want to upgrade to 4K, but are ready to give up on lugging around external recorders, screw-in ND filters and multiple lenses - may want to take a very serious look at the new X70.

Here is what this camera can do:




If anything here has helped you to make a purchase decision, please shop using the links above or the displays below and in the margins. And, even if you're not in the market for a new camera, please comment and make suggestions below. It won't cost you anything extra, and it will help to keep these posts coming.

For the latest deals, news, tips and techniques, please follow HCR on Blogger, Twitter and YouTube and circle us on Google+ Thanks for your support of the revolution!

Paul Ream's Sony F5 4K hack is real - Sony F55 owners not happy

Sony F5 owners just got an early Christmas present. Paul Ream's latest podcast describes exactly how he unlocked 4K recording on the heretofore 2K Sony F5 (discussion of Sony business ethics starts at 11:30 - legal caveats and technical discussion start at 17:15).

For those who need to see the procedure in writing, Paul has spelled it out:

Following on from our fourth podcast, this is the page where we’ve written the 4K4F5 guide down. It goes like this:

• Save a 2K XAVC ‘All Files’ setting to a blank SD card.
• Pop the SD card into your computer.
• Go to the Private/Sony/PRO/CAMERA/PMWF5 directory.
• Open the 001.ALL file with a plain text editor.
• Delete the whole of the first line (32 digit checksum)
• Change line 150 to one of the settings listed below.
• Save the file as 001.ALL (Plain text)
• Generate a new md5 checksum for the file.
• Open the file in your text editor again and add the new checksum as a new first line.
• Save and pop the SD card in your F5.
• Enjoy your new settings which can then be copied in camera to taste.

Your choice of new line 150′s are:

• 4K at 23.98 enter: 150=4096,2160,1001,24000,1,1,0,8,0,0,0,1,1,1,6
• 4K at 24 enter: 150=4096,2160,1,24,1,1,0,8,0,0,0,1,1,1,6
• 4K at 25 enter: 150=4096,2160,1,25,1,1,0,8,0,0,0,1,1,1,5
• 4K at 29.97 enter: 150=4096,2160,1001,30000,1,1,0,8,0,0,0,1,1,1,4
• 4K at 50 enter: 150=4096,2160,1,50,1,1,0,8,0,0,0,1,1,1,3
• 4K at 59.94 enter: 150=4096,2160,1001,60000,1,1,0,8,0,0,0,1,1,1,3
• QFHD at 23.98 enter: 150=3840,2160,1001,24000,1,1,0,8,0,0,0,1,1,1,6
• QFHD at 24 enter: 150=3840,2160,1,24,1,1,0,8,0,0,0,1,1,1,6
• QFHD at 25 enter: 150=3840,2160,1,25,1,1,0,8,0,0,0,1,1,1,5
• QFHD at 29.97 enter: 150=3840,2160,1001,30000,1,1,0,8,0,0,0,1,1,1,6>/li>
• QFHD at 50 enter: 150=3840,2160,1,50,1,1,0,8,0,0,0,1,1,1,3
• QFHD at 59.94 enter: 150=3840,2160,1001,60000,1,1,0,8,0,0,0,1,1,1,3

To generate an md5 checksum on a mac you can simply use terminal. Just type “md5 001.ALL” when you’re in the same directory as the file. Finally paste the 32digit code back into the first line in the file.

Not sure how to do this on Windows but there are web sites that will generate an md5 file code just by dropping it on a page!

Alternatively, here’s all my ‘ALL file’ settings as an example. They were generated on my camera with firmware 4.11. These can be saved to an SD card and used directly in your camera. Once loaded you can change any other menu settings and save them to your own camera cards as normal.

ALL_files_4.11

It is very interesting to see the shock and outrage over this discovery on Philip Bloom's Facebook page among the F55 crowd, though.

Camera companies make business decisions that disadvantage consumers all the time - at both consumer and pro ends of the market. I don't know why people continue to be surprised by this.

That said, if you've been thinking about getting the F5, but have been holding out for 4K, now may be the time to pick one up from existing stock from retailers (they are still $16,490 at Adorama). Sony will probably close this loophole in units that are yet to ship from the factory.

Cinoflex turns the Sony A7s into a cinema camera for a Chevy commercial test

On August 12th, Cinoflex introduced the new type-SA7s Camera System on their Facebook page. Priced at $2495, and designed for a $2498 camera, this rig plugs the Sony's amazing full-frame low light sensor into a standard cinema camera form factor for under $5000.  Straight from Cinoflex, here's the design philosophy behind the type-A7s (from the Sony Alpha Rumors comments section):

"...a camera needs to be balanced well-fore to aft, needs to have a mass with low center of gravity, needs to have mounting options for the camera department, needs to have one central power source for all items, needs to adhere to the Panavision and Arriflex standard of spacing and heights, and...very important, needs to adhere to the tradition and fashion that camera operators, camera assistants, and camera technicians have been accustom[ed] to in the last 40 or so years. The Cinoflex was designed from the ground up, to emulate and respect the traditional form of the best film cameras, form [sic] the ARRI 435 to the PANAVISION Millennium XL."

Even adding in the $1995 price of the upcoming Atomos Shogun for 4K recording, the total price of this setup would be less than the price of the $8995 Aja Cion.  And, of course, it would be a lot less than a RED Epic or Arri Alexa.

For commercial or indie shoots where light and budget are at a premium, this might be a good solution.

That said, it's still about $1000 more than the upcoming $5995 Blackmagic URSA EF, with its global shutter and built-in HD-SDI outputs.

Now - if they'd only build one for the GH4....(are you listening, Cinoflex?)

Choices, choices - it's a great time to be a filmmaker!

Panasonic GH4 "Range Wars" - Which Dynamic Range Test Do You Believe?

The $1699 Panasonic GH4 seems to elicit some pretty strong reactions. Opinions run the gamut from reviews like "Best Camera Ever?" to a "scientific" test called "Dynamic Range – Sony A7S vs. the others" where the results seem to confirm the testers' preconceptions, e.g,  "the rather videoish look and contrasty colors we can subjectively observe" from the GH4.

Here's the chart showing the results of this test (using the $3540 Xyla21 – 21 step Grayscale Combi-DX1):

GH4 CineLike Dynamic Range Test - Assessed as 10.9 stops by Cinema5D

The post describing these results gives us a few details about the methodology (e.g., the lens and ISO they used), but doesn't show waveforms or tell us which CineLike profile the testers used (this is important because CineLike V has less DR than CineLike D).

Fortunately, we can compare these results to other data-driven tests. The best I've seen is "Panasonic GH4: DR and Gamma, Timelapse, and More" from Adam Wilt writing for dvinfo.net.

Adam also used the Xyla 21 to test the GH4's Dynamic Range - but he tested it across various color and CineLike profiles. Here is his result for CineLike D:

GH4 Dynamic Range Test - Assessed as 11+ stops by Adam Wilt at dvinfo

Why the clear difference between the results of the two tests? Perhaps the Cinema5D testers used CineLike V instead of CineLike D. Or perhaps it was confirmation bias related to the subjective observations about the camera's "videoish" look.  Hard to know.

Personally, I don't see a "videoish" look from my GH4 unless I want it.  Neither do I see it from Phil Bloom's 4K Postcard from Phang Nha or Guillaume Le Berre's Kaydara.

That said, I really respect the effort the folks at Cinema5D put into this test, but in light of the significant difference with the dvinfo results, they might want to take another look at their conclusions.

Sony A7s Now In Stock and Shipping from Adorama and Amazon!

You have to give it to Sony. When they promise a camera on the first of July, they deliver it on the first of July! The amazing full frame Sony A7s is now in stock and shipping at Adorama, Amazon and B&H.

Some reviewers who've shot with it like it better than the GH4. Here's one of the earliest and best examples of what the A7s can do from W. Ashley Maddox of Missionary Films:




In an interview over on newsshooter.com, Ashley says, "The buttons took about an hour to get used to – compared to days that it took for me to get used to the Panasonic GH4’s buttons" and "Editing [A7s footage] was way easy compared to the GH4 and FS700 in S-Log 2. I found that the noise was low. And when there was noise, it had a natural grain look to it vs. the muddy blacks that I am seeing in the GH4".

For shooters who are accustomed to Sony menus, who really really want mirrorless full frame with great low light performance, don't mind buying an external recorder to get UHD, and who don't need 10 bit output or true 4096x2160 4K, this may be the right camera.

If anything here has helped you to make a buying decision, please order through the links above or the display ads below and support our sponsors in the margins. Ordering through these links doesn't cost you anything extra and allows us to keep these posts coming. Thanks for your support of the Hybrid Camera Revolution!

First Sony A7s Reviews Rolling Out - Better than the GH4?

Even though my GH4 will be arriving soon, I am still interested in how well the Sony A7s performs. I was impressed by what I was able to see of this camera at NAB - but it's a challenge to know what a camera can really do without reports from the field (or, preferably, shooting with it yourself) - so I will probably rent one and compare it to the GH4 at some point.

But until we can get our hands on it, we'll have to settle for early reviews like this one from The Camera Store in Calgary:



I always enjoy Chris' reviews. Lots of energy - and he knows his way around a camera menu. But he's not a video guy, and, in my view, he misses a couple of significant issues in his short comments on the A7s versus the GH4.

He mentions the obvious stuff, of course - the A7s' unmatched high ISO capability and apparent DR advantage over the GH4 at 1080p - and he counterbalances this by mentioning the A7s' 1080/60p maximum frame rate, lack of internal 4K and lack of 4K 10-bit output - but, in my view, he glosses over a couple of significant differences between the cameras that many shooters care about.

First - both the EU and the non-EU versions of the A7s stop recording after 30 minutes. Followers of this blog and my forum comments know that I consider this to be a significant limitation. Many non-EU Canon, Nikon and Sony users buy these cameras expecting to be able to record religious services, wedding ceremonies, plays, lectures and other events - and are surprised when their cameras shut down after 12 to 30 minutes. This is not a deal breaker for most narrative and documentary shooters, but for people who want to get rid of their camcorders and carry just one camera (this is the Hybrid Camera Revolution, after all), this is a big deal.

The second major issue is that this is not a "world camera". Unlike the GH4, the A7s is region-locked, and does not allow switching between NTSC (60Hz) and PAL (50Hz) frame rates. Frustrating for shooters who travel extensively or who have clients or viewers in other regions.

And, of course, the GH4 is $800 less than the A7s (although, I wouldn't be surprised if the price gap narrows over the next few months).

All of that said, the proof will be in the pudding. Shooters are starting to produce some incredible 4K work with the GH4 (please see the "GH4K" group I moderate over on Vimeo). We'll see what the future holds for the A7s - it's still a tremendous camera.

As Philip Bloom just tweeted,

GH4 4K internal, A7s sees in dark. Both cheap cameras! Yet people still whinge? Never been a better time technology wise to be a shooter!!

— Philip Bloom (@PhilipBloom) June 27, 2014

As usual, if anything here has helped you to make a buying decision, please click on the links above or the display ads below and in the margins. It won't cost you anything extra, and it will help to keep these blog posts coming. And, for the latest hybrid camera news, views, tips and tricks, please follow HCR on Blogger on YouTube, on Google+ and now, on Twitter! Thanks so much for your support.

New 4K Panasonic FZ1000 - Sony RX10 Killer?

Last night, Panasonic announced the first UHD ("4K") camera below $1000 - the $897.99 Panasonic DMC-FZ1000 (available for pre-order at Amazon and Adorama). This camera has a list of great video features in addition to UHD - such as a 1" sensor, focus peaking and zebras, 5-axis stabilization and cine gammas. Here's a nicely shot UHD video from Panasonic (please watch at your monitor's highest resolution):





Aimed squarely at Sony's $1298 DSC-RX10, this camera has a very similar 1" 20MP sensor - but it tries to 'improve' on the RX10's terrific 8.3X constant aperture f2.8 lens by doubling the zoom range.  It's not much of an improvement, however, because the longer zoom range is offset by the loss of constant aperture (the new lens' aperture is a not very impressive f2.8-4.0).

It also fails to match the RX10 in other ways that matter to video shooters - it has no metal weather-sealed body, no ND filter, and no headphone jack.

In addition, when recording UHD, the US model is limited to 30fps and 30 minutes of recording time (25fps for the PAL model).  No 24fps.

Given the lack of serious video features, the addition of focus peaking, 5-axis stabilization, cine gammas, UHD "4K" and the 1" sensor may not be sufficient to compensate for this camera's shortcomings.

Bottom line - Reports of the RX10's demise are greatly exaggerated. At $897.99, the FZ1000 may sell well, but I don't recommend it for serious video shooters. If you want a compact superzoom with serious video chops, I recommend saving up an extra $400 for the RX10 - it's a great 1080p video camera with a headphone jack and a metal body that can stand up to a little weather.

If you want the flexibility and creativity of interchangeable lenses, you can get an all-metal GH3 body with a headphone jack for about $100 more than the FZ.

And for shooters who really want to upgrade to 4K - I recommend saving up for a camera that records to real 4K and 24fps - and without a 30 minute limit - the GH4.

How to Record 4K with the Sony A7s - Without Waiting for the Atomos Shogun!

A lot of the excitement surrounding the introduction of the $2498 full frame video-centric "4K" Sony A7s at NAB a few months ago was a little muted when we discovered that the camera could only record 4K externally. But, we were told, the new $1995 Atomos Shogun 4K HDMI recorder was coming soon - and for just $4500, we would have an awesome 4K low light machine.

Well, filmmaker Yoshihiro Enatsu was unwilling to wait. He lashed up a $280 Blackmagic Design 4K HDMI-6G SDI converter and an $1895 Blackmagic Design HyperDeck Studio Pro, and created this incredible 4K video:



The setup is a lot bulkier than a Shogun, but the results speak for themselves. If you need 4K full frame right now, can get AC power into the field - and you don't want to spend the money for a $3495 Aja Ki Pro Quad - this looks like a workable solution.

If anything here has helped you to make a purchase decision, please click on the links above or the display ad below - it won't cost you anything extra, and it will help keep the information in these posts coming. Thanks for your support!

Sony Builds Anticipation for A7s with "Detailed Hands On" Video!

In the video below, Sony builds anticipation for the world's first full-frame camera with UHD ("4K") output. This camera records internally at up to 1080/60p and 720/120p compressed to 50mbps - a relatively low bit rate by modern standards. What really sets it apart, however, is the ability to record video at up to ISO 409600 (!). With this kind of light-gathering capability and external UHD recording, this camera should be the low-light/high resolution king. Here's the video:



I went to NAB very excited to see this camera - especially since I wasn't able to be there until Day 2 of the show. I watched the big Sony press event online on Day 1 and couldn't wait to get over to the Sony booth and get my hands on the camera. When I arrived, I was fortunate enough to get a chance to handle it and talk to a couple of Sony reps who had flown in from Japan. The high ISO sensitivity is real - and it produced great output on the show floor - but we'll have to see what the footage looks like once it's in the hands of shooters who don't work for Sony.

For those who need extreme low light sensitivity and the full-frame "look", but don't mind buying or renting an external recorder for UHD and don't need: 4096x2160 4K; 1080p slow motion; or 1080p bit rates beyond 50mbps, this may be the camera you've been waiting for. If it is, you can pre-order it for $2498 at Amazon or Adorama.

On the other hand, if you don't make movies in the dark, want to record 4K internally, and want 1080/96p slow motion and 1080p bit rates at up to 200mbps, you might be better off saving yoursefl $800 and ordering a $1698 Panasonic GH4.

And you'll probably have your camera sooner.

Blackmagic Studio HD Camera Now Shipping for $1995 from Adorama!

I saw Blackmagic CEO Grant Petty demoing the new Blackmagic Studio Camera at NAB - and it produced fabulous images in a studio setting (which is what it is for). For low budget web, cable and broadcast production, this camera is an incredible value for the money. With a couple of these cameras lenses, mics and a switcher you'll have the basics of a live production setup for around $10,000 - a fraction of the cost of a single traditional broadcast camera, such as the $87.5K Sony HCD 2000 Studio Camera.

It is interesting that Blackmagic has been able to start shipping the Studio Camera so soon after NAB. This augurs well for an early (or, at least, on time) ship date for the Blackmagic Ursa - which I am much more interested in, as an amateur cinematographer.

It will also be interesting to see whether prices on traditional cameras start coming down in reaction to this camera. The big manufacturers in this market have already seen their profits in this market segment decline over the past few years. This will probably drive a few of them out of this line of business.

If anything here has helped you to make a buying decision, please click on one of the links above or the display ad below to order your Studio Camera. It won't cost you anything extra, and it will help to keep these blog posts coming. Thanks!

Sony Announces 4K Full Frame A7s - How Does It Stack Up Against the Panasonic GH4?

Sony unveils the A7s - a full frame, interchangeable lens 4K video camera

This is a big turnaround for Sony. A couple of months ago, in an article entitled, "Sony: Consumers aren't quite ready for 4K recording", Sony executives were quoted as saying, "Some competitors have already introduced 4K recording models so it is a point of differentiation that we don’t have at the moment but we see the need for it."

But with the firestorm of interest around the new Panasonic GH4 (and Sony's own FDR-AX100 4K camcorder), Sony seems to have changed its tune. At the end of today's press event at NAB 2014, Sony unveiled a new full-frame, interchangable lens camera based on the A7 - the A7s (high level specs on the slide below):



The headline number is clearly the ISO. In fact, the "s" in A7s stands for "sensitivity".  It is clear that Sony is going to make the case that low light shooters should buy this camera instead of the GH4.

But the rest of the specs aren't really competitive.  An optional XLR input doesn't match an optional quad 4K HD-SDI output. The A7s' slow motion will be a relatively lo-res 720/120p against the GH4's full HD 1080/96p.  The A7s' XAVX-S 50Mbps will certainly look nice, but if it is 8-bit 4:2:0, it won't grade as well as the GH4's 100Mbps 10-bit 4:2:2 HDMI output.  As for shooting LOG, the GH4's CineLike D will at least give S-Log2 a run for its money.

The elephant in the room, however, is price.  How much will this camera cost?  If, like the A7r,  it is a few hundred dollars over $2000 - I don't think they'll sell a lot of them.  If, however, it is closer to the price of the A7, the GH4 may have a fight on its hands.  Of course, that will kill A7 sales and create a lot of angry A7 owners.  It will be interesting to see what Sony does.

Really looking forward to getting to Vegas tomorrow!

EDIT: Just saw that DJ over at DSLRFilmNoob is reporting that the A7s cannot record 4K internally and that the price will be $2500.  If true, I don't think they're going to sell a lot of these cameras.

EDIT 2: The press release seems to confirm that the camera records 3840x2160 to an external recorder and 1080p to the internal card.  For cinema shooters who want DCI compatible 4096x2160 and prefer to record internally, this is a non-starter.  It looks like the GH4 is the winner on resolution, internal 4K recording and price.

EDIT 3:   Here's the first video shot with the A7s.  Compressed for YouTube and not downloadable:



 EDIT 4: Andrew Reid at EOSHD is reporting that Atomos has announced the Atomos Shogun external recorder for the A7s.  It will be "less than $2000" and will record the A7s' 8-bit 4K output as 10-bit ProRes.  So you'll need to add a ~$2000 recorder to the A7s' estimated $2500 price to get 10-bit 4K (transcoded from 8-bit).  That's a lot of money for a transcode.

If you've been waiting to see what Sony would do before deciding to pre-order your GH4, and this post has helped you make a decision, please pre-order through one of the links above or the display ads below. It won't cost you anything extra, and it will help to keep these updates coming. Thanks!

A Reminder of What Has Sony (and Canon) Worried - Adorama Reviews the Panasonic GH4!

Panasonic DMC-GH4 with DMW-YAGH Pro Audio-Video Interface - $3298
Click Here or on the Photo to Order 

While we wait for Sony NAB 2014 Press Event (less than an hour away as I write this), here's a reminder of why Sony is (may be) in such a rush to introduce a 4K interchangeable lens mirrorless camera - the enthusiastic reception that the 4K $1698 Panasonic GH4 is getting.

Adorama TV has just released another positive GH4 review - with example scenes from different shooting scenarios - to include recording to an Aja Ki Pro Quad (with the usual caveat that you can't tell a lot from YouTube compressed video).

And there's a lot more on the DMW-YAGH audio video interface (which the reviewer calls a "breakout box") and on the camera's ergonomics when it is combines with the YAGH and an external recorder.

Here's the video:



This is a great reminder of the high bar that Sony will have to clear if they want to compete with the GH4. With any luck, I can get my hands on both cameras at NAB and tell you all about it.

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World's First Full Frame 4K Camera? Watch Sony NAB Announcement Live!

Sunday Night, April 6th, at 2PM Pacific, 5PM Eastern and 10PM London time, Sony will hold its annual NAB Press Event. The rumor sites are pretty much all reporting that the company will announce an "A7s" 4K full frame video/still camera.

Full frame is nice, but we'll have to see whether the new camera's codec and connectivity measure up to the GH4's.

Sadly, I don't get to Vegas until Monday night, but Sony will live stream the event - so we can all watch it right here on HCR!


EDIT: Okay, okay - it's the world's second full frame 4K camera (after the very expensive Canon 1D C). That said, it is likely to be the world's first full frame 4K camera that many people can afford.

Slashcam 4K Shootout - Panasonic GH4 vs Sony AX100 vs Blackmagic Production Camera!

 

German review site Slashcam has done the first side-by-side of the first generation of <$3000 4K cameras, the Panasonic GH4, the Sony AX100, and the Blackmagic Production Camera.

Although the clips suffer from YouTube compression and questionable color choices in the grade, there are a couple of things that are clear. First, the GH4's 50ns shutter readout is almost as good as a global shutter. I had to freeze the frame to see skew/rolling shutter in the "whip pan" at 0:32. It wasn't distracting at all as I watched the motion video - unlike previous generation CMOS cameras.

Second, there is a lot to be said for the AX100's resolution, baked-in color rendition and power zoom. If you don't plan to color grade and don't need the flexibility of interchangeable lenses, this is a terrific little Handycam.

Here's the video:



Without access to the original files, this comparison is suggestive, but not definitive. That said, the accompanying review provides more insight. Here's another link to the full review. The translation is a little rough, but, thanks to Google Translate, I can't complain about the price.

These are all great cameras for their specific purposes. If you want cinema standard 4096x2160, internal recording to SD cards instead of SSDs, interchangeable lenses, a great viewfinder and in-camera color control in addition to gradeability - get the $1698 GH4 .

If all you need is UHD, but you want a Super 35 sensor, RAW (eventually) and no rolling shutter - get the $2995 Blackmagic Production Camera - but be prepared to buy external batteries and an external monitor or loupe (at the very least).

If you just want to pick up a camera and shoot stunning UHD without the hassle of color grading or changing lenses - get the $1998 AX100 - but be prepared for skew/rolling shutter if you pan too quickly.

If you know what you're getting into, you can't really go wrong with any of these cameras.

$2000 Instant Rebate on Canon 1D C - Now Less Than $10,000!

         VS            

If you've been waiting for the 4K Canon Cinema EOS 1D C to come down in price, today's the day! Now, at $9999 after a $2000 instant rebate, the Canon 1D C costs only five times more than the body-only GH4 .

Snark aside, this is very good news for shooters. 4K innovation from companies like Panasonic, Blackmagic, Sony (and Kinefinity) is already pushing Canon prices downward - now, let's hope the trend continues!

Panasonic Announces Pricing and Availability for GH4 and 4K Interface Unit!

Several sources are reporting that Panasonic has announced official pricing and availability for the new DMC-GH4 4K camera and its DMW-YAGH pro audio video interface.

Prices and estimated arrival dates will be:

• Panasonic DMC-GH4 body only - $1699.99 (ETA May 2014)


• Panasonic DMW-YAGH interface unit - $1999.99 (ETA May 2014)


• Panasonic DMC-GH4 body with DMW-YAGH interface unit - $3299.99 (ETA June 2014)

Preorder links are up at some of the smaller retailers (and at Adorama) already.  They are not up at Amazon yet, but should be soon (EDIT: the pre-order link is now up at Amazon ).

It looks like my earlier estimate for the price of the GH4 was about right - but my guess on the price of the YAGH was off by $200 to the high side.

This is very exciting news.  It means that existing micro 4/3 shooters will be able to step up to 8-bit 4K from their existing cameras for less than $1700.  And new micro 4/3 shooters can step up for $1700 plus the price of a lens or adapter.

For indie movie shooters who want to step into the world of 10-bit 4K motion picture production this means that for less than $7000, they can record true cinematic 4096x2160 4K.

That $7000 number is based on $3300 for the GH4 /interface kit, plus either a $2295 for a Convergent Design Odyssey 7Q or a $3495 Aja Ki Pro Quad).

Yes, this setup would be several thousand dollars more than a $2995 Blackmagic Production Camera (and would lack RAW recording capability) - but it would allow indies to start at the lower $1700 entry point (lower than the price of a $1995 Blackmagic Cinema Camera), and would give them an upgrade path to:

• Real 4K recording as opposed to UHD
• The same bit depth and color space as ProRes
• 2 XLR mic inputs on the YAGH (and 2 more with the Ki Pro Quad) with decent sound quality - instead of the Production Camera's 1/4" input jacks and dodgy preamps
• The ability to perform simple camera functions, such as the ability to erase clips in-camera
• A built-in EVF
• A pretty good still camera to boot.

As for Canon and Sony 4K cinema cameras - when it comes to price, they are not even in this conversation.

Welcome to the next phase of the hybrid still/video camera revolution!

New Sony A6000 vs Panasonic G6 - Which One for Video?

The last few days have been a "camerapalooza" of new camera announcements, price cuts and general chaos in the still/video hybrid camera world.  That's great news for camera bloggers, but not-so-great news for consumers trying to make decisions on where to spend their hard-earned money.

So, instead of the usual "Sony rolled out the A6000 last night, here are its great new features, you should hit the pre-order button and order yours now" - I thought I'd list the new camera's video pros and cons - and compare it with the reigning still/video champion in this price class.

For this comparison, I've chosen some of the areas that, in my view, are most important to shooters who want both a high quality camera and "camcorder" in the same package.

Sony A6000

• Video viewfinder: Yes
• Fast video autofocus: Yes
• Peaking/Zebras: Yes
• Power zoom available: Yes
• 1080/60p: Yes
• Recordable HDMI out: Yes (bit depth unknown)
• Moire and Aliasing: Unknown
• WiFi/NFC: Yes
• 30+ minutes of continuous recording: No
• Manual audio levels: No
• On-screen sound level meters: No
• Front facing LCD: No
• External 3.5mm mic jack: No (hot shoe mic)
• Body Only Street Price: $648
• Kit street Price: $798 w 16-50 power zoom

Panasonic G6

• Video viewfinder: Yes
• Fast video autofocus: Yes
• Peaking/Zebras: Yes
• Power zoom available: Yes
• 1080/60p: Yes
• Recordable HDMI out: No
• Moire and Aliasing: Minimal
• WiFi/NFC: Yes
• 30+ minutes of continuous recording: Yes
• Manual audio levels: Yes
• On-screen sound level meters: Yes
• Front facing LCD: Yes
• External 3.5mm mic jack: Yes
• Body Only Street Price: $699
• Kit Street Price: $629 w 14-42

The Sony A6000 is a great upgrade for NEX-6 and NEX-7 still photographers, but, unfortunately, there seems to have been a lot of video capability left out of this camera - perhaps to protect the $1298 RX10.

If so, Sony has missed an opportunity to show that they are serious about competing with Panasonic for enthusiast video shooters in this price class.

So if you have $600-$700 to spend, and you're looking for the best value for money still/video camera you can buy, I have to recommend the reigning champ in this class - the Panasonic DMC-G6.

If this has helped you to make a buying decision, please order through the links above or the display ads below.  It won't cost you anything extra, and it will help keep these blog posts coming.  Thank you!