Which $3000 camera should you buy - Sony A7s II or URSA Mini 4K?

Over the past couple of years, as Sony has introduced more and more capable full frame video cameras in still camera bodies - and as Blackmagic Design has driven the price of 12-bit RAW Super 35 cinema cameras downward - shooters have had an increasingly difficult time deciding whether to buy a high end hybrid camera or a RAW-capable budget cinema camera.

Still/video hybrid cameras have had the advantage that they are relatively light and can do double duty as still cameras. And although their highly compressed codecs and 8-bit color spaces aren't the greatest for grading, LOG profiles and increasingly clever compression algorithms have made up for these shortcomings (especially on the small screens where most content is displayed).

One thing they haven't been able to overcome, however, has been the inherent limitations of the still camera form factor. There isn't the volume to fit XLR input jacks or dual card slots - and shooters generally need to spend extra money on cages for these cameras to mount accessories - plus ungainly shoulder rigs for steady handheld shooting.

But low-budget cinema cameras have had their problems too. Early cameras from Blackmagic didn't have XLR inputs. Nor did they have dual card slots or ergonomics that were conducive to shoulder mounting. And, although the 2013-era Blackmagic Production Camera 4K was a bargain compared to a 4K Super 35 camera from Sony or Canon, it was still expensive (and an ergonomic disaster) when compared to a standard mirrorless still/video hybrid camera - which was typically less than $2000 and had interchangeable batteries, a usable viewfinder and was easier to operate than the BMPC 4K..

This year, however, something has happened that changes the conversation. The two trends have finally met in the middle - with the introduction of the new Sony A7s II (street price $2998) and the $2995 Blackmagic URSA Mini 4K (both likely to ship in October).

Both cameras are relatively lightweight, with decent ergonomics and the ability to record high quality UHD to LOG profiles.  Both cameras have already shown they can create cinematic Super 35 (URSA Mini) or full frame (A7s) motion images.






With body-only prices at just less than $3000, these cameras seem to be similarly priced.  But neither is really ready to take out on a shoot straight out of the box.

This begs the question - once these cameras are rigged up and ready to shoot - are they still price competitive?

To help the typical DSLR or mirrorless shooter looking to upgrade to one of these two cameras, HCR has put together two charts, the first comparing upgrade prices for the typical DSLR upgrader and the second comparing specs.

For the sake of argument, we'll assume that this 'typical' upgrader already has Canon EF lenses and an HDMI EVF (or plans to use the Sony's built-in EVF) - but needs an audio solution and a new cage/shoulder rig compatible with the A7s II. Of course, these assumptions won't be true for everyone, but we have to start somewhere.

Upgrade Price Comparison

For handheld work, URSA Mini needs a battery plate, a battery, the URSA Mini shoulder kit and relatively expensive CFast 2.0 cards, at a minimum, to get started - while the A7s II needs (assuming we want in-camera pro sound and compatibility with EF lenses) an XLR adapter/preamp, a U3 SDXC card, an EF to NEX adapter and a shoulder rig of some kind. Let's run the numbers and see how that prices out:

	Mini 4K EF	A7s II
Body Only Price	$2995	$2998
Electronic Viewfinder	$599 (non-OEM SDI)	Built-in
Battery Plate	$95 (OEM V-Mount)	NA
Battery	$40+$20 (Sony L to V-Mount adapter)	Included
Shoulder Rig	$395 (OEM)	$170-$1100 (avg. ~$635)
Media	$250 (128GB Delkin)	$60 (128GB Transcend)
XLR jacks/preamp	Built-in	$329
EF Adapter	NA	$439

So, micro-budget filmmakers with EF lenses who don't mind shooting with a $599 800x600 viewfinder (instead of Blackmagic's $1495 1920x1080p viewfinder) can get URSA Mini 4K up and running for about $4395 - while a similar Sony A7s II setup would cost a little more, at around $4460.

These totals are approximate - shaving a few dollars off the A7s II shoulder rig and buying an external recorder rather than a JuicedLink preamp would get the price down for the hybrid camera - but the total cost of getting these cameras ready to shoot is about the same (for this set of assumptions).

One of these side-by-sides wouldn't be complete without a specs comparison:

Specs Comparison

	Mini 4K EF	A7s II
Body Only Price	$2995	$2998
Electronic Viewfinder	SDI (additional cost)	Built-in
Sensor Size	Super 35	35mm
Lens Mount	EF (add $500 for PL)	Sony E
Max Resolution	4000x2160	3840x2160
Base ISO	400	3200
Max HD Frame Rate	120fps	120fps
Codec	ProRes 422 or RAW	XAVC S
Shutter	Global	Rolling
Mic Input(s)	2xXLR w phantom	3.5mm
Headphone Output(s)	Yes	Yes
SDI Out(s)	Yes	No
Storage	CFast 2.0	SDXC
Dual Card Slots	Yes	No
In Body Stabilization	No	Yes
ND Filter	No	No
Native Power Zoom	NA	Yes
Still Photos	No	Yes
Weight	5 lbs.	1.3 lbs.

So how do the specs compare? The URSA Mini, with internal RAW recording and a global shutter, generates high quality images that stand up very well to color grading and camera motion. But (outside of 8MP freeze frames) URSA Mini is not a still camera, needs supplemental lighting in low-light situations and has no in-body stabilization.

The A7s II, on the other hand, is lighter, smaller and the clear winner in low light - but is likely to be more susceptible to "skew" resulting from camera or subject motion - and its 8-bit codec will have a more limited color palette in the grade.

HCR's bottom line for these charts - even though the ready-to-shoot costs are similar, these are two very different cameras with unique strengths and weaknesses.  As always, which one you buy or rent depends on your specific needs and preferences and not on comparison charts.

That said, these numbers have broader implications.  They show that you can get an ergonomically friendly 4K Blackmagic RAW cinema camera up on your shoulder and ready to shoot - for less than the price of a RED RAVEN brain or a body-only (8-bit) Sony FS5.

This could be a problem for Sony and RED.

If this post has helped you to make a buying decision, please use the links above or the display ads in the margins to make your purchases.  It won't cost you anything extra, and it will help keep these posts coming.

And please follow HCR here, on G+, on YouTube on Vimeo and on Twitter (button below) for the latest news on micro-budget video and cinema.

Follow @hybridcamrev

RED Announces Raven - takes on URSA Mini 4.6K, Sony FS7

Seven years after the "3K for $3K" Scarlet debacle, RED is delivering 4K for $6K with the EF mount $5950 (brain only) RED RAVEN.

Ready to shoot, with a V-Lock battery mount, touch screen LCD, 120GB RED MAG and handle, RAVEN will be less than $10,000.  Not quite #4K4ALL, but a lot closer than we've seen from RED to date.

Nice beauty shots in the intro video:



Sadly, there is no footage from the camera yet, but we have seen enough from RED sensors and color science to be fairly confident in Raven's ability to produce theatrical quality images.

With a brain-only weight of 3.5 lbs, 4K/120p and 2K/240p recorded internally to REDCODE RAW and an advertised 16.5(!) stops of latitude - this is going to be a powerful tool for filmmakers. RED says it's versatile enough for "documentaries, online and television" - but indies will almost certainly choose this camera for feature films on a budget.

But it's still relatively expensive.  Ready to shoot, it will cost about the same as a C300 Mark II - but that's not saying much. For shooters upgrading from DSLRs or entry level Super 35 cameras, Raven is going to be a very hard sell  - especially when you add the price of a viewfinder, ND filter and rigging.

A similarly equipped URSA Mini 4.6K EF will be $4995 plus the cost of a 128GB CFast 2.0 card (currently $249) while the Sony FS7 (with LCD, viewfinder and built-in NDs)  is $7999 and a 128GB XQD card is $685.

Here's our usual side-by-side specs comparison with cameras in the same price class (excluding 8-bit cameras such as the Sony FS5, Panasonic DVX200, Canon C100 and JVC LS300):

	Mini 4.6K EF	RED RAVEN	Sony PXW-FS7	Canon C300 II
Body Only Price	$4995	$5950	$7999	$15999
OEM Viewfinder	$1495 option	$3200 option	Yes	Yes
Sensor Size	25.34x14.25mm	20.48x10.88mm	25.5x15.6mm	24.4x13.5mm
Lens Mount	EF (add $500 for PL)	EF	Sony E	EF or PL
Max Resolution	4608x2592	4096x2160	4096x2160	4096x2160
Sensor S/N (advertised)	NA	80dB	57dB	NA
Dynamic Range (advertised)	15	16.5+	NA	NA
Max HD Frame Rate	120fps	120fps (240fps at 2K)	240fps	120fps
Codec	ProRes 422 or CDNG RAW	RED RAW, ProRes 422 (2K only)	XAVC 4:2:2 (ext. RAW)	XF-AVC 4:2:2 (4:4:4 HD)
Shutter	Selectable Global/Rolling	Rolling	Rolling	Rolling
Mic Input(s)	2xXLR w phantom	None	2xXLR w phantom	2xXLR w phantom
Headphone Output(s)	Yes	No	Yes	Yes
SDI Out(s)	Yes	No	Yes	Yes
Storage	2xCFast 2.0	MINI MAG	2xXQD	2xCFast 2.0/1xSD
In Body Stabilization	No	No	No	No
ND Filter	No	No	Yes	Yes
Native Power Zoom	NA	NA	$548	$31K
Weight	5 lbs.	3.5 lbs.	4.4 lbs.	7.4 lbs.

Again, specs aren't everything - and neither is price - but, in my view, it is useful to know what you're getting for your money.

RED RAVEN is a significant camera. With an advertised March 2016 ship date, we should see it on the show floor alongside URSA Mini at NAB next spring.  I can't wait.

Please follow HCR here, on G+, on YouTube on Vimeo and on Twitter (button below) for the latest news on micro-budget video and cinema.

Follow @hybridcamrev

First official footage from the new Panasonic DVX200!

Here are some very nice 4K V-LOG images from Panasonic's first official DVX200 footage (please watch at 2160p and your monitor's highest resolution:



Behind-the-scenes:



And the "First Look" from Zacuto:



I agree with Jens and Steve - at $4195 (pre-order here), this camera is going to be very popular with wedding shooters, documentarians and run and gunners.

That said, the DVX's 8-bit color space and h.264 compression are still a problem. After recording 10-bit 4:2:2 and losslessly compressed RAW to an SD card on a $1000 Pocket Cinema Camera, I don't understand why Panasonic, Canon and Sony still have such a hard time with this in $4000+ cameras.

For me, and other shooters who want less compression and more gradable images, something like the $4995 URSA Mini 4.6K EF is probably a better option - but for shooters who want the convenience of a built-in power zoom lens and don't want or need a lot of flexibility in post, this is going to be a terrific camera.

Is the 4K Sony FS5 a 1080p Canon C100 Mark II killer?

After yesterday's chart comparing the specs of the new Sony FS5 and the Blackmagic URSA Mini, I received feedback from a reader who thought a better comparison might be with cameras such as the $3495 JVC LS300, $4195 Panasonic DVX200 and $5499 Canon C100 Mark II.

I thought this was a good idea, and wanted to take a look at how the new Sony stacked up against the other non-RAW cinema camcorders in its price class, so here is part deux of the "affordable cinema camcorder side-by-side comparison" between the FS5 and its sub-$6000 competition.  The most interesting part of this comparison (for me, at least) is on the right side of the chart - between the similarly priced 4K Sony and 1080p Canon:

	JVC LS300	Panasonic DVX200	Canon C100 Mark II	Sony PXW-FS5
Street Price (Body-only)	$3495	$4195 (w lens)	$5499	$5599
OEM Viewfinder	Yes	Yes	Yes	Yes
Sensor Size	Super 35 w var. crop	MFT	Super 35	Super 35
Lens Mount	MFT	Fixed	EF	Sony E
Max Recorded Resolution	3840x2160 (free 4096x2160 upgrade)	4096x2160	1920x1080	3840x2160 ($ 4096x2160 upgrade)
Max HD Frame Rate	60fps	60fps	60fps	240fps
Codec	MPEG4 8bit 4:2:0 (4:2:2 HD)	MPEG4 8bit 4:2:0 (ext. 10bit 4:2:2)	MPEG4 8bit 4:2:0	XAVC 8bit 4:2:0 (4:2:2 HD, $ ext. RAW upgrade)
Shutter	Rolling	Rolling	Rolling	Rolling
Mic Input(s)	2xXLR w phantom	2xXLR w phantom	2xXLR w phantom	2xXLR w phantom
Headphone Output(s)	Yes	Yes	Yes	Yes
SDI Out(s)	Yes	Yes	No	Yes
Storage	2xSD	2xSD	2xSD	2xSD
In Body Stabilization	No	Yes	No	No
ND Filter	Yes	Yes	Yes	Electronic
Native Power Zoom	<$300 (3x)	Fixed (13x)	$31K	$548 (6x)
Still Photos	No	No	No	No
Weight	3.6 lbs.	5.95 lbs. (w lens)	2.5 lbs.	1.8 lbs.

Of course, specs alone don't tell the whole story. Manufacturer support, personal preference, ergonomics, legacy lenses and other factors all weigh heavily on the final decision whether to buy one camera rather than another. All of that said, based solely on specs and price, the C100 Mark II seems to be the clear loser here.

Sadly, despite its lack of competitiveness in resolution and frame rates, Canon continues to sell $5000+ 1080p, 4:2:0 Super 35 camcorders into what is increasingly a 2160p 4:2:2 marketplace.  With the introduction of the $2998 Sony A7s Mark II, the situation is arguably worse for them in the full frame DSLR arena.

Canon has successfully ridden their breakthrough 2008 video success with the 5D Mark II for 7 years. It will be interesting to see how long that ride continues.

As usual, if anything here has helped you to make a buying decision, please order through the links above. It won't cost you anything extra, and it will help to keep these blog posts coming. Thanks so much for your support.

New Sony FS5 - URSA Mini Killer?

Today, 5 months after NAB 2015, Sony has launched a major counterattack against the URSA Mini (which finally started shipping yesterday).

The new $6699 (body only) Sony PXW-FS5 is a lightweight Super 35, E mount camera with a 240 fps super slow motion burst capability, a built-in electronic ND filter and compatibility with affordable Sony power zooms (such as the $548 Sony 18-105mm constant f/4).

As usual, Sony's marketing department had a sample video ready on the day of the announcement, something Blackmagic has not done in the 5 months since NAB:

Here's a BTS and interview with Producer Den Lennie and DP Mick Jones:

The size, weight and image quality from this camera appear to be ideal for independent narrative and documentary filmmakers.  Its compatibility with affordable power zoom lenses is an added bonus, and will probably cut into sales of the $4195 fixed lens Panasonic DVX200.

Here is a table comparing the specs between the FS5, both models of the URSA Mini and the Canon C300 Mark II (Canon's lowest priced 4K Super 35 camcorder).

	Mini 4K EF	Mini 4.6K EF	Sony PXW-FS5	Canon C300 II
Body Only Price	$2995	$4995	$5599	$15999
OEM Viewfinder	$1495 option	$1495 option	Yes	Yes
Sensor Size	Super 35	Super 35	Super 35	Super 35
Lens Mount	EF (add $500 for PL)	EF (add $500 for PL)	Sony E	EF or PL
Max Resolution	4000x2160	4608x2592	3840x2160 (paid upgrade to 4096x2160)	4096x2160
Max HD Frame Rate	120fps	120fps	240fps	120fps
Codec	ProRes 422 or RAW	ProRes 422 or RAW	XAVC 4:2:0 (4:2:2 HD, paid upgrade to ext. RAW)	XF-AVC 4:2:2 (4:4:4 HD)
Shutter	Global	Selectable Global/Rolling	Rolling	Rolling
Mic Input(s)	2xXLR w phantom	2xXLR w phantom	2xXLR w phantom	2xXLR w phantom
Headphone Output(s)	Yes	Yes	Yes	Yes
SDI Out(s)	Yes	Yes	Yes	Yes
Storage	2xCFast 2.0	2xCFast 2.0	2xSD	2xCFast 2.0
In Body Stabilization	No	No	No	No
ND Filter	No	No	Electronic	Yes
Native Power Zoom	NA	NA	$548	$31K
Still Photos	No	No	No	No
Weight	5 lbs.	5 lbs.	1.8 lbs.	7.4 lbs.

Bottom line - this looks like a nice little camera - 240 fps, the ND filter, the OLED viewfinder and HD 4:2:2 are great features - and it produces nice looking UHD images on YouTube - but $6699 is a whole lot of money to pay for 100mbps 8-bit 4:2:0 UHD.

The Blackmagic URSA Mini 4.6K EF (with the OEM viewfinder) is $209 less for a camera with higher resolution straight out of the box - plus built in 12-bit RAW recording (of course, that extra $209 might pay for one CFast 2.0 card).

All of that said, both of these are great cameras - Sony and Blackmagic are to be commended for giving filmmakers such terrific tools at these prices.

EDIT: Hat tip to reddit user /u/zdubs1, who points out that the pre-order price for the FS5 is actually $5599 , $1100(!) less than the $6699 list price.

This makes the FS5 a whole lot more attractive, and a real threat to cameras such as the $5499 Canon C100 Mark II, which is limited to 1920x1080p maximum resolution and has no upgrade path the 4K or RAW.

Panasonic AF100 pro camcorder now worth less than a couple of cell phones

                          

  

                                                            \

Interestingly, the same day Panasonic's new $999.99 CM1 "communication camera" rolled out in the States, the company cut the price of its venerable AG-AF100 pro camcorder to $1999.

As a result, the AF100 is now worth less than the price of a couple of cell phones.

Looking back from 2015, it's hard to remember what a pioneering camcorder the AF100 was.  A year after the beginning of the DSLR revolution, Panasonic boldly unveiled a large sensor, interchangeable lens camera with XLR inputs, ND filters, a top handle and camcorder ergonomics and controls.  This was before the FS100, before the C100 and back when Blackmagic Design was still pretty much a video capture card company.

For a while, Panasonic had the market to itself - until its competitors figured out the AF100's vulnerability - its micro 4/3 sensor size.

The competition's first generation pro camcorders were Super 35.  Not only did they perform better in low light - they also had the cachet of a "Hollywood sized sensor."

Very quickly, the AF100 was eclipsed by the Sony FS100, the FS700 and then the Canon Cinema EOS series.

Now, about a half dozen manufacturers (to include AJA, Blackmagic, Kinefinity and JVC) are building sub-$10,000 interchangeable lens Super 35 cameras, while Panasonic's only offering in this price class remains the 5 year old AF100.

Panasonic really needs a Super 35 camera in this price class.  In HCR's opinion, the DVX200, with its micro 4/3 sensor and fixed lens, was a missed opportunity to fill this gap.

In the meantime, for shooters who don't need 10-bit or 4K and don't mind the smaller sensor, this is still a decent 8-bit 1080p camera - and, at $1999, might be worth buying as a starter cam for those want the camcorder form factor and can't afford a $2499 FS100 or a $2999 C100.

As always, if anything here has helped you to make a buying decision, please use the links here to make your purchases - it won't cost you anything extra, and it will help to keep these blog posts coming.  Thank you so much for your support of the revolution!

Three important new reviews: Bloom on FS7; Johnston on LS300 and Behiri on XC10

Three of my favorite reviewers have published reviews/previews of their thoughts on some of 2014/2015's most interesting new cameras, the $7999 Sony PXW-FS7, the $3995 JVC GY-LS300 and the $2499 Canon XC10. I wanted to put them all in one place for those of you who are interested in these cameras.

Phil Bloom's look at the FS7 is a preview for one of his much longer reviews, which is still to come. He is trying out a new way of funding his reviews, a GoFundMe page, which I support. I just rented the LS300 in order to review it here, and it does cost a lot of time and money to put something worthwhile together.

Here's what the two Phils and Johnnie were able to do with these cameras:







As long time readers know, HCR has been in the market for a large sensor camcorder for a while - but we haven't decided yet. These cameras are all on the list - as is the URSA Mini - and these reviews are certainly helpful as we make the final decision. I am personally very grateful to these three guys for these tests.

I've said it before and I'll say it again, what a great time to be a film/video maker!

JVC GY-LS300 review coming soon!

As some of you know, HCR rented a JVC GY-LS300 UHD "4K" Super 35mm camcorder last weekend to run some side-by-side tests with the GH4. Sadly, our partners at Borrowlenses don't have one yet, so we rented it from the great folks at LensRentals. Still putting the review together, but here's a preview pic:

JVC GY-LS300 with Panasonic 14-140 lens and AT835b mic

It was nice to shoot with a real camcorder again - the UHD image quality is great - and the adjustable crop sensor is really cool - but the camera does have a couple of challenges.

Please check back for the complete review!

Free Metabones adapter or Rokinon lens with new 4K JVC GY-LS300 at 3/18 LA event!

4K JVC GY-LS300 - $3995 at Adorama - click image to pre-order

In another sign that JVC is going "all out" with the introduction of the GY-LS300, selected dealers are offering a Metabones adapter (EF, Nikon G or PL) or one of two Rokinon full frame Cine DS lenses (24mm or 35mm) for free with the purchase of JVC's new 4K Super 35mm camcorder.

This would be a savings of up to $799 (for the Rokinon 24mm Cine DS lens).

Three dealers offering this promotion are:

• Adorama in New York
• EVS in LA (Glendale)
• VSA at several locations in the Midwest
• G&G in Saddlebrook, NJ

If you want to see the camera in person before you order, EVS is hosting the LS300's "LA debut" on March 18th from 1:00 to 3:00PM at their Glendale store.  JVC execs and techs will be there - and there will be a free (with security deposit) "rent before you buy" promotion.

And if you don't need interchangeable lenses, you can get the new 4K JVC GY-HM200 with its fixed 12x zoom lens, and 2/3" sensor for just $2695.

The HM200 is going to put a lot of pressure on the much more expensive 4K camcorders from Sony and Panasonic, the FDR-AX1 and HC-X1000 (as well as JVC's own GY-HMQ10) .

My guess is that the prices of these cameras will have to come down.

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+.

Is it a cinema camera or not? Newsshooter reviews the "4K for $4K" JVC GY-LS300 Super 35mm camcorder

4K JVC GY-LS300 - $3995 at Adorama - click image to pre-order

Kudos to Matthew Allard at newsshooter.com for posting the first English language review of this exciting new micro four thirds mount camcorder - the camera I call  "the Panasonic AF200 that should have been".

And kudos to JVC for doing what Panasonic should have done with the micro four thirds mount - adapted it to an affordable Super 35mm camcorder.

From the review, here's Matthew's real-world example of what this $3995 camera can do in a documentary/newsgathering scenario:


 
Matthew's review speaks for itself - but I found it interesting that JVC told him that "the GY-LS300 is not being marketed as a cinema camera."

Then why the heck was Craig Yanagi from JVC at Sundance with the LS300 last month?


 

As with any company introducing a new product, there is probably a little confusion in the marketing department over messaging - but JVC needs to get a handle on this, or they will miss a golden opportunity to make inroads with independent filmmakers.

Whether JVC's "ENG-centric" marketing department likes it or not, Super 35 is a cinema format - and the LS300 is likely to be seen as a relatively inexpensive and easy to use entry level cinema camera by film schools, DSLR upgraders and other low budget filmmakers.

This is a real opportunity for JVC to enter a marketplace where they have not been competitive.  I hope they don't screw it up.

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+.

4K Panasonic VariCam 35 vs 3.2K Arri Alexa

4K Panasonic VariCam 35

3.2K Arriflex Alexa

Over the last few years, as 4K (and higher) resolution digital cinema cameras from other manufacturers have flooded the marketplace, Arri has steadfastly (some might say stubbornly) resisted giving its cameras the ability to record at resolutions higher than 2K.

In answer to a question at IBC 2012 on when there would be a 4K version of Alexa, for example, camera system product manager Marc Shipman-Mueller said  "...there is just not an urgent need for it...".

Suddenly however, the need must have suddenly become more "urgent" - because Arri has, in quick succession, announced UHD ProRes for Amira (August 2014) and 3.2K ProRes for Alexa (February 2015).

Perhaps coincidentally, the Amira upgrade was announced a few weeks before the new Panasonic VariCam 35 started shipping.  This is a camera that Panasonic seems to have aimed squarely at Arri.  With its 14+ stops of advertised dynamic range and true 4K 120fps ProRes recording, DPs are getting results like these:


 


 





For more examples of the stunning image quality this camera can produce - especially at its "dual native" ISOs of 800 and 5000, please join the new Panasonic VariCam 35 community I moderate over on Vimeo.

And if you're in the market for a high end 4K, 14+ stop cinema camera that can record 2K and 4K simultaneously, features slow motion at up to 120fps and a native ISO of 5000, you can buy or finance the VariCam 35 at Omega Broadcast for $55K.

As always, even if you're not in the market for a VariCam or an Alexa, please shop using the links above or the displays below and in the margins. 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+.

4K JVC GY-LS300 price drops to $3995 - less than 1080p Canon C100!

Pre-order price drop - JVC GY-LS300 now just $3995 (click on the image to pre-order)

I have never seen a 10% pre-order price drop - until now.

JVC rolled out their GY-LS300 Super 35 camcorder in November of 2014 at a list price of $4450.  There has been a lot of buzz about this camera over the last few months (it was Videomaker Magazine's "best of show" camcorder at CES 2015, for example) - but we have seen very little footage (besides this) and no major US reviews.

Quietly, however, the major retail sites have marked the US pre-order price down to $3995 (interestingly, the camera is already in-stock in the UK for £3450.65).

Unless I missed it, the US price reduction has not been announced or even acknowledged by JVC - nor has it been widely promoted by retailers.  Have pre-order numbers been so soft that JVC is cutting prices before the camera ships in the US?  Or is the company simply reacting to Canon's new Cinema EOS prices?

Whatever the reason, what was a good deal for shooters who want to step up to a large sensor, interchangeable lens 4K camcorder - but don't have a big enough budget for the Blackmagic URSA - has suddenly become even better.

$3995 for a Super 35 camera that can record to true 4K makes the LS300 a very attractive choice when compared to a (relatively) low resolution $3999 Canon C100.

With their video-capable DSLRs under pressure from the A7s, NX1 and GH4 - and with the C100 and C300 now under pressure from the LS300 and URSA - it will be interesting to see how Canon responds at NAB 2015 (if they respond at all).

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+.

Canon wakes up and smells the coffee - HUGE price drops on C100 Mark I, C300 and C500 Cinema EOS cameras!

Click on the image for price cut details!

With the beginning of a new year, the dam is starting to burst on Canon's ridiculous Cinema EOS prices. As of this morning, the PL mount Canon C500 is $15,999 (down from $30,000), the EF mount C300 (with the dual pixel AF upgrade) is $11,999 (down from $18,500) and the C100 Mark I is $3,999(!) (down from $6,499).

The headline news from these price cuts is that Canon seems to be taking the threat from Aja, Sony and Blackmagic very seriously. In a world where shooters can buy a PL mount 4K/120p APS-C Aja Cion and record to 12-bit 4:4:4 ProRes for $8,995 or an EF mount UHD/80p Super 35mm Blackmagic URSA and record to losslessly compressed CinemaDNG RAW for $5,995 - it doesn't make a lot of sense to spend $18,500 for a 1080/30p Canon C300 that records to a maximum 8-bit 4:2:2.

My guess is that this reality was starting to show up in Cinema EOS sales - and Canon, to its credit, responded. Time will tell whether these price cuts will halt the slide - or if it's a case of "too little, too late".

Shooters who bought these cameras in the last few months and are outside of their return windows aren't going to be happy, but, overall this is very good news - especially for Canon DSLR upgraders. With the cost of a C100 with XLR inputs and a top handle now just $1500 more than a sale priced 5D Mark III, it's almost a no-brainer.

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.

For the latest deals, news, tips and techniques, please follow HCR on Blogger, Twitter and YouTube and circle us on Google+. Happy New Year and thanks for your support of the revolution in 2014!

"D" Cam for Avengers: Age of Ultron - the Blackmagic Pocket Cinema Camera!

IMDB's Technical Specifications page for the upcoming sequel to Marvel's the Avengers - Avengers: Age of Ultron (teaser trailer below) shows the usual list of very expensive Hollywood cameras - the Arri Alexa XT, the RED Epic, the Canon EOS C500 - but it also lists the $900 Blackmagic Pocket Cinema Camera shooting ProRes 4:2:2.

Here's the trailer:



The GoPro HD Hero 3 is also listed (probably as a POV cam).

It is terrific to see a camera from the world of micro-budget filmmaking used on a major Hollywood production - and it's also a testament to the quality of the images produced by the Pocket.

This camera has already been used for major TV advertising campaigns and on the set of the TNT series Dallas - but this is one of the first feature films.

Given this camera's price/performance ratio, it's likely that we'll see more BMPCCs on set in Hollywood going forward.

Hat tip to an anonymous poster over on 4chan for the heads up.

Which to buy - the $5499 Canon C100 Mark II or the $5995 Blackmagic URSA EF?

 VERSUS

When Canon introduced the Cinema EOS line back in 2011, they held a big Hollywood event, with expensively produced introductory videos and many of the luminaries of the industry in attendance.  They spent a lot of money and made a big deal of it - and rightfully so.  They were stepping into the big leagues of Super 35mm digital filmmaking with feature-rich and cinematographer-friendly cameras for pro Canon shooters who wanted to step up from DSLRs.

The price points for the new Cinema EOS cameras were high - but not unreasonable in a world where the competition was the then-aging Panasonic AF100 (with its small sensor and poor low light performance) and the newer Sony FS-100 with its strange top mounted LCD/viewfinder and boxy ergonomics.

And when the C100 was introduced a year later, it quickly became a DSLR upgrader's favorite - the only Super 35 camera you could buy below $10,000 with the compact form factor of a DSLR, but with no recording time limit, essentially no moire, built-in XLR jacks with decent pre-amps, a top handle and manual rather than menu-based controls of key camera functions.

And it was 100% compatible with the wide range of Canon EF lenses, which a lot of shooters had in their camera bags.

As a result, over the past couple of years, as the price for this camera dropped from the $6499 introductory price to the current $4499 (for the non-dual pixel autofocus version), Canon sold a lot of them.

But, over the past few years, the landscape has changed. Now we live in a world where $5995 will buy a Blackmagic URSA - an EF mount Super 35 camera with a global shutter and pro SDI out that records to UHD/60p 12-bit RAW.

In this world, it makes a lot less sense to announce a $5499 Canon C100 Mark II that records at a maximum 1080p resolution and 60fps frame rate to an 8-bit compressed codec - and doesn't fix the limitations of the C100's consumer HDMI output.

Nor, as far as I can tell, does it fix the C100's CMOS rolling shutter problem.

Admittedly, URSA is 10 pounds heavier, CFast cards are expensive - and shooting with a "big screen TV" in your face instead of a viewfinder is an acquired taste - but, for TV commercials and indie filmmaking, the URSA's feature set and image quality are competitive with the $20,000 C500 at the price point of a $5499 C100 Mark II with a Blackmagic HDMI to SDI converter.

To quote Filmmaker Magazine, the C100 Mark II "...would be an impressive upgrade — if this were coming out in December 2013."

Even leading C100 advocate and shooter Noam Kroll won't be upgrading.

So, above $10,000, value-conscious filmmakers will probably choose the "C300 killer", the $10,499 4K Sony PXW-FS7 with a 28-135mm f4 servo zoom instead of the $11,999 body-only 1080p C300.

While below $10,000, the $5995 UHD URSA seems to be a much better value for the money than the $5499 C100 Mark II.

If Canon fails to address the resolution/price gap with their competitors, Cinema EOS could very well find itself in the same straits as their DSLR line - where, led by serious shooters like Dave Dugdale and Caleb Pike, Canon shooters seem to be giving up on DSLRs and switching to mirrorless 4K (and 4K capable) Panasonic GH4s and Sony A7s in significant numbers.

As someone whose first video capable interchangeable lens camera was a Canon T2i, I still have hope that the company will step up to the challenge - but even if they don't, there are some great alternatives out there.

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.

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!

Blackmagic URSA in stock at Adorama - hands-on video!

Blackmagic URSA EF - now in stock at Adorama! (click on the image to order)

Ok - not only are we starting to see early footage, it looks like retailers are starting to get them in stock. Here's the announcement and hands-on video from Adorama TV:




My guess is that, as with most Blackmagic rollouts, this first shipment will be limited. If you want this camera, you should order it soon.

Blackmagic URSA pre-orders shipping - first footage from the wild!

The Bear is in the house - Blackmagic URSA EF - $5995 at Adorama

The 4K Super 35 Blackmagic URSA, introduced at NAB 2014 in April, has started shipping. Guy Fiorita at New York production house Shout Chorus appears to be one of the first shooters in the US (and one of the first shooters without a connection to Blackmagic) to get his hands on the camera  - and has taken the time to post a mini-review plus few NYC street scenes (video after the break).

Guy didn't have the shoulder kit, so URSA wasn't on his shoulder very long and he used a tripod for most of the shots.  But he also says that the camera's weight isn't a deal breaker.

I'll let Guy's review and video speak for themselves, but at $5995 (EF version) or $6495 (PL version), shooters might be willing to put up with a little extra weight to get 4K (UHD) RAW or ProRes at 60p plus a global shutter. Goodbye CMOS skew and "jello-vision"!

You would have to pay $28,990 to get UHD/60p and a global shutter from Sony.

It looks like Blackmagic Design is absolutely committed to revolutionizing the price model for cinema cameras - all the way from the sub-$1000 RAW capable Pocket Cinema Camera to feature production with the Super 35 URSA. Good news for filmmakers.  Bad news for the traditional camera manufacturers


Here's Guy's video:



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!