Three cinematographers working in three different production styles push the new ARRI ALEXA to the limit
By Pat Reid
Several years in the making, ARRI finally released its much anticipated ALEXA camera at NAB 2010, and it has become a huge hit in only a few months. Even those who thought that the ALEXA was “just another version of a D-21” quickly changed their minds. For the makers of features, television projects, commercials, music videos—and even... Read more
As you already know, even with the cool firmware upgrades, the Canon EOS 5D Mark II is getting a little long in the tooth. Since the 5D Mark II was released over two years ago, Canon has launched several new HD video-enabled DSLRs that have been used to shoot every type of production—from feature films to family outings.
The EOS 60D is Canon’s... Read more
Ideal for Final Cut Studio users, the modular JVC GY-HM790U excels in both field and studio environments
By George Avgerakis
Two JVC camcorders are hanging from my hands. In my right is my trusty D-9 SD DY-90W, bought in 2001. Costing $30,000 with lens, weighing 17 pounds (all weights given are without batteries) and shooting NTSC SD with 2/3-inch 16:9 CCDs to ½-inch video cassettes, it served me well but is now totally obsolete. In my left is the new GY-HM790U that... Read more
The Sony NEX-VG10 with its APS HD sensor delivers full 1920×1080 HD with “35mm-like” shallow depth of field
By Neil Matsumoto
It was only a matter of time before the camcorder industry would take notice and react.
In less than two years, the HD DSLR movement has revolutionized indie filmmaking by further leveling the playing field between low-budget and studio productions. In addition, a large percentage of still photographers have caught the filmmaking bug, creating an even... Read more
The cinema-like VariCam line now offers tapeless acquisition as part of the solid-state P2 system
By David Willis
The Panasonic VariCam 2700 (AJ-HPX2700) is the latest iteration in the VariCam line, a workhorse camera designed for use with field productions, thanks to its in-camera production abilities, including a variety of slow- and fast-motion frame rates and AVC-Intra 100 recording in full 10-bit, 4:2:2, as well as the half-compression AVC-Intra 50 codec for... Read more
With the XF300 camcorder, will Canon lure back its own EOS 5D Mark II and EOS 7D users?
By Neil Matsumoto
Way back in 1997 (light years in the digital video world), Canon released a landmark camera, the XL-1. The three-CCD, standard-def camcorder was wildly popular with indie filmmakers who were drawn to professional features like interchangeable lenses, a high-quality viewfinder and XLR inputs—all in an affordable priced-to-own package. In the... Read more
Sony’s HXR-NX5U is an affordable, tapeless HD camcorder based on AVCHD technology
By Neil Matsumoto
As you probably know, HD DSLRs have been receiving a lot of attention from both low-budget and professional filmmakers, who are buying the compact, inexpensive cameras to shoot their projects. But with 35mm-like, shallow depth of field and low-light shooting ability come a different set of problems, including inadequate onboard audio, a lack of long,... Read more
Vision Research updates its high-speed HD camera system with the Phantom HD GOLD
By Simon Wakelin
In part two of our high-speed cinematography series, we take a more in-depth look at the Phantom HD high-speed camera from Vision Research. Recently, the Phantom HD camera has evolved into the second-generation Phantom HD GOLD, which improves overall handling and image quality.
But first a recap: The Phantom HD camera offers high-definition, high-speed... Read more
With the arrival of file-based capture and 35mm film-sized imagers, Sony updates its SR line
By Kevin H. Martin
Even before the advent of the third millennium, Sony’s entrée into the high-end imaging format, HDCAM, had debuted, along with the HDW-F900 camera. The following decade has brought refinements and innovation. The year 2003 saw the introduction of HDCAM-SR, a Sony tape capable of recording 4:4:4 (RGB) and 4:2:2 (10-bit). The following year, the... Read more
In this new era of capturing movies with DSLRs, the Achilles’ heel is definitely sound, with the current crop of video DSLRs all lacking professional sound-recording features. The cameras don’t allow you to manually control sound, nor do they contain XLR inputs for professional microphones. To obtain good sound, many video-DSLR users are... Read more