Internet forums, YouTube and magazines are full of articles extolling the virtues of large sensor video cameras, whether it's the Red Epic or the Canon C300. But should we be obsessed with the Big Chips, or do they have a downside as well. Kieron Seth investigates.
This is the first of our series looking at people who run a video production business focusing on their strategy and their technology. Mark McCarthy of Sparky Media Productions specialises in very high quality video which is increasingly obtainable on lower-cost equipment - although he's not afraid to use high-end kit where necessary.
Ned Soltz, our East Coast correspondent, has all the details on the new Sony pricing, and how it will stir up the Digital Cinematography marketplace
The big camera announcements this year have been for large (in terms of capability), top-end cinema-type devices. That's all very exciting. But it does actually take time for cameras to be evaluated, bought, and then used in a production. That's why we're only just starting to see major feature films being made with Sony's natively 4K F65 (After Earth, with Will Smith, for example)
Equipped with a proxy encoder and WiFi module the Panasonic AG-HPX600 ushers in an era of the camera-server that enables remote operation, screening, and collaboration, on a level we haven’t previously experienced. Barry Braverman reports
With sales of Sony's larger 4K cameras (the "CineAlta" range) kicking off - apparently more than 2000 F5 and F55s have been sold - Sony has introduced a version of their 4K codec that is more "consumer friendly"
We've just written about the paucity of 4K from Panasonic at NAB this year. Meanwhile, Sparky Media Productions has sent us another stunning set of shots taken in Hong Kong with their Panasonic GH3: a digital still camera that outperforms Panasonic's own AF100 (their large-sensor video camera)