Paul D

Panasonic GH4 & Comodo Orbit – Hands On at BVE 2014

Panasonic GH4

Last week I got my hands on the new Panasonic GH4. I must admit that when I first heard about the GH4 and, more to the point, saw those photos of the DMW-YAGH interface (which seemed to have all the visual appeal of a Steve Jobs memorial statue) I was underwhelmed. However, getting up close and personal with them and seeing what they can achieve, has changed my mind and left me feeling excited about this camera’s possibilities. Continue reading “Panasonic GH4 & Comodo Orbit – Hands On at BVE 2014”

Canon EOS 5D Mark III Clean HDMI Out Firmware Announced!

Nine months ago, in a piece about the just announced Nikon D4, I wrote “Chief amongst these features is a clean, uncompressed 4:2:2 HDMI feed with simultaneous output to the D4′s rear monitor…a clean uncompressed 1080p output…[is] MAJOR news, both in terms of what the Nikon D4 can offer filmmakers and because it could force Canon to reverse its decision not to provide a clean, uncompressed HDMI output on the 1D X. In fact, it could mean, dare I say it, a clean, uncompressed HDMI output on the Canon 5D Mark III…” Well nine months later, Canon has given birth to (the announcement of) a new firmware update that will provide the EOS 5D Mark III with a clean uncompressed (8 bit) 4:2:2 HDMI output. Continue reading “Canon EOS 5D Mark III Clean HDMI Out Firmware Announced!”

Sony PMW-200

When the Sony EX1 was released, five years ago, it was an incredibly important camera, for a number of reasons. First and foremost, it was the only handheld full HD camera on the block. Secondly, it had three half inch sensors, making it great in low light. Thirdly, it had a real lens which allowed focus, aperture and zoom to be set manually. Last, but not least, it was the first Sony’s handheld camera to record to solid state cards. All of this should have made it the ideal ‘small’ camera for long form documentaries. However, it had one fatal flaw, namely it could only record internally at 35Mb/s 4:2:0, meaning it was not ‘broadcast quality’ (as defined by the EBU or BBC). Continue reading “Sony PMW-200”

Kinefinity KineRaw S35 Raw Digital Cinema Camera

Last year I posted about the KineRAW S35, a Chinese Alexa that Guardian photographer and DSLR News Shooter, Dan Chung, had discovered at the BIRTV trade show in Beijing.

At the time it was, essentially, vapourware, but now it seems that the launch of this camera is just weeks away…and at a projected price of approximately $6000 for a 2K (down sampled from 4K), 12 bit raw, S35mm camera, than can take PL, Canon & Nikon lenses, could turn out to be a very significant development.

Dan Chung has posted a 20 minute interview with JH from the camera’s developer, Kinefinity, and is currently testing the camera. If it fulfils its promise, then the combination of the KineRAW S35, Blackmagic Design’s new $3000, 2.5K raw shooting M43 Digital Cinema Camera and the crowd funded S16 Raw shooting Digital Bolex, might just be the catalyst for Sony, Canon & RED, to produce competitively priced raw cinema cameras…and if it is not, apparently Kinefinity has 4K raw, S16 raw & S8 raw cameras in development…

Focus on Imaging 2012

After last year’s disappearing act, Canon were back with a vengeance at this year’s Focus on Imaging expo at the NEC in Birmingham. Unsurprisingly, the EOS 5D Mark III, announced just two days before the event, was the star of their stand and of the show, with long queues to get up close and personal with one. Continue reading “Focus on Imaging 2012”