What is the state of production technology in 2016?

Published in Production

Great cameras, improving LEDs, but still gaps in the lens market and stagnating workstations: Phil Rhodes takes a look back at the last year's developments in production technology and where they might lead in 2016.

How upgradeable is your camera?

Published in Production

You won’t find this information on your camera’s spec sheet. But it needs to be there.

ARRI’s Amira - First user review

Published in Production

 The ARRI Alexa has become hugely popular due to the intelligent processing and the delicious image it creates.The company’s latest camera, the Amira, thus has an exceptional pedigree and, in this review of the first Amira in Australasia by Kiwi cinematographer Donny Duncan, proves to be a pretty exceptional camera too.

We may be reaching the point where the tools, gadgets and gizmos that we love to buy are simply good enough. This is the first of two articles (the second will be by RedShark Technical Editor Phil Rhodes) about what happens when our technology simply gets to the point when we don't actually need any improvements.

Phil Rhodes argues that we're almost at the post-scarcity point with cameras where the equipment is so uniformly excellent that, if the end results don't look good, it's down to the user.

There is always a frisson of excitement generated by big chip cameras, but that doesn’t mean they are always the best answer to the job in hand.

Vapourware, announced products that then fail to materialise or have release dates that slip and slip and slip, has a long and ignoble history in the software industry. It now seems though that it is endemic amongst camera manufacturers too and, Andy Stout reckons, this is not healthy.

It's  one thing to manually specify which points and objects a system should track, but quite another for a visual system to find its own points - and for your life to depend on it.  In a strange and convoluted way, self-driving cars may point to the future of cameras

Canon’s EOS C300 Mark II cleared for broadcast

Published in Production

The European Broadcast Union has had the Canon EOS C300 Mark II independently tested and cleared it for use on HD and Ultra HD programmes. It might sound overly bureaucratic, but such paperwork is really important for the way a camera is perceived in the industry.

You wouldn’t expect the video business to take lessons in innovation from a company that makes low-cost mixing consoles. But, in the case of the Mackie DL1608, it probably should.

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