All this talk of 4K, high frame rate, 3D, and ever more precision and information in video signals is a good thing, right? Well, yes, but at some point, an engineering solution has to be designed to let it happen, and there's reason to believe we might be getting a bit ahead of ourselves
When your showreel looks as good as this, you really don't have anything to prove. You don't have to convince anyone that your kit is good enough for the movies, because your showreel is the movies
The Canon 1DC is a curious camera. Based on a top-end DSLR design, with essentially only some additional firmware it becomes a 4K camcorder as well. But where does it fit into the increasingly complex matrix of options around high res, high dynamic range (i.e. RAW) devices that are available today at approximately affordable prices?
Here are some fascinating things that we learned from our sessions at London's Broadcast Video Expo
This is intriguing. Aptina, known to be a sensor supplier to Nikon, has made a new 4K sensor. And it's available to anyone!
We were a little bit underwhelmed when we saw the first footage from the F55, not because there's anything wrong with the camera - far from it; but because it was shot incredibly flat, and we kind of expected something a bit more eye-catching than that. The whole experience set us off on what was essentially a rant about how you shouldn't use YouTube or Vimeo to judge the quality of a camera
Procam, a UK-based hire company, has shown a huge commitment to 4K by placing the biggest ever order for equipment by a hire company with Sony