In a statement released today (and reproduced below in full) ARRI has announced that its Amira camera will can be upgraded to record UHD (not 4K) internally, as UHDProRes
Recently I've been expressing the view that all cameras are pretty much the same, because they all use the similar technology (give or take) for their sensors. I don't mean to be unnecessarily cruel about the work of camera manufacturers – taking an electronic component such as an imaging sensor and making it into a usable tool is far from trivial. Still, the absolute performance of cameras is determined by what you can get off the lump of silicon behind the lens
RED and, say, Sony are diametrically different in so many ways, and perhaps no more so than in the way that the EPIC manufacturer absolutely loves to let information about new products seep from every pore
CMOSIS upgrades CMV12000 sensor to 300fps at 4k (4,096 x 3,072)
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.
A Kickstarter-funded digital 16mm camera is one of 2012's most intriguing stories. RedShark's reporter Peter Haas talks to Joe Rubinstein, co-founder of Digital Bolex
Most large-sensor cameras use a Bayer colour filter pattern to allow full colour images to be output - after "debayering". This entire process is now pretty routine but unfortunately what is also routine is the amount of light lost through the colour filter process. Less light means more noise, and noise is what ultimately limits the low-light capabilities all cameras