4K In The Real World

The Panasonic Lumix DMC-GH4 offers a plethora of pro video features

By Dan Brockett

KEY SPECS • 4K video recording in Cinema 4K (4096×2160/24 fps) and QFHD 4K (3840×2160/up to 24/25/30 fps in MOV/MP4) • 16.05-megapixel Digital Live MOS Micro 4/3 sensor • VFR (variable frame rate up to 96 fps in 1080p) time-lapse shot/stop-motion animation capability built in • Professional... Read more

Hands-On With The Blackmagic Production Camera 4K

The hard-to-categorize 4K camera is a “pro” camera, but lacks many pro features

By Neil Matsumoto

Main Features • Contains a Super 35mm-sized 4K sensor (21.12×11.88mm) • EF mount only • Captures UHD (3840×2160) and full HD (1920×1080), but not DCI 4K (4096×2160) • At this time can only capture ProRes 422 (HQ), not CinemaDNG RAW • 12 stops of latitude •... Read more

When Worlds Collide

Nipros enables live broadcast shooting with 4K digital cinema cameras

By Dan Brockett

At first glance, it seems an incongruous pairing. Imagine shooting a live worldwide broadcast with a dozen RED EPICs, perhaps two handheld Canon EOS C500s and an ARRI ALEXA on a jib arm. Why would you attempt such a thing? The production parameters of live television are generally about as far away from digital cinema production as you can get. Shooting... Read more

Amira Up-Close

Can ARRI’s new doc-style camera capture a new style of nonfiction cinematography?

By Neil Matsumoto

In the cinematography community, there’s cause for celebration anytime ARRI releases a new camera. Founded in Munich, Germany, by August Arnold and Robert Richter in 1917, ARRI has been on the cutting edge of camera and lighting technology for almost 100 years. Cameras like the ARRIFLEX 16BL, SR, 535 and ARRICAM have been workhorses for cinematographers... Read more

At A Glance: Sony DSC-RX10

A supercharged point-and-shoot video camcorder

By Neil Matsumoto

Do you really need a DSLR nowadays? That’s a question many photographers and video shooters are asking themselves due to the surge of high-quality mirrorless cameras hitting the market, including Sony’s full-frame a7R and Panasonic’s Lumix GH3. Some of the reasons for this surge include the compact size of the cameras due to the lack... Read more

On The Move

A first look at ARRI’s new shoulder-mount, documentary-style camera, the AMIRA

By Dan Brockett

It’s no secret that the ARRI ALEXA is a well-executed digital cinema camera that has become a favorite for projects as diverse as blockbuster theatrical releases and popular television series over the past few years. The ALEXA is even being used to shoot commercials and music videos, as well. The camera’s very organic image quality, dynamic... Read more

Raw Power

Not much bigger than a smartphone, the Blackmagic Pocket Cinema Camera contains a secret weapon

By Neil Matsumoto

For two straight years, Australian-based company Blackmagic Design stole the show at NAB. In 2012, the announcement of the Blackmagic Cinema Camera rocked the show floor, with its interchangeable EF mount and the ability to capture 2.5K RAW CinemaDNG and Apple ProRes files for a price less than $3,000. (The current price has come down miraculously to... Read more

The 4K Consumer Shooter

At $4,499, is Sony’s FDR-AX1 the most important camera in the 4K push?

By Neil Matsumoto

Although the 4K RED ONE was released way back in 2007, Sony has been one of the leading companies behind the 4K push, launching 4K digital cinema cameras like the F65, F55 and F5 for high-end motion pictures. But with the exception of JVC’s GY-HMQ10 ($5,500 list) and Sony’s own FS700R ($8,686.05, camera body only), most of your 4K cameras... Read more

MFT Rising

Why Micro Four Thirds is a good option for low-budget filmmakers

By Neil Matsumoto

The Micro Four Thirds (MFT) system was started by Olympus and Panasonic back in 2008 for mirrorless interchangeable-lens digital cameras. The format contains the same sensor specs as the Four Thirds system, but the MFT design doesn’t have a mirror box and pentaprism, allowing the camera bodies to be even smaller with a shorter flange focal distance... Read more

The World On Your Shoulder

New ENG cameras from the big three manufacturers reveal convergence and divergence

By Dan Brockett

While ENG camera users have been experiencing fairly incremental product life cycles over the past few years, with small, yet significant updates to their camera platform of choice, colleagues who shoot with cinema-style cameras have been enjoying a wild roller coaster-like journey of innovation. That ride began with the introduction of the RED ONE,... Read more

Canon EOS 70D

Canon’s revolutionary new autofocus system will change the way DSLR filmmakers shoot on the fly

By Neil Matsumoto

I’ve said this many times, but achieving critical focus is probably the hardest learning curve to master in filmmaking. On a movie set, the person charged with this task is the First AC (aka focus puller), who’s one of the most important people on the set. If he or she makes even a subtle mistake, the shot is ruined, meaning all of your... Read more

Visual Velocity

Camera chase car innovations bring speed, agility and control to filmmakers

By Clint Milby

When you see a motion picture or commercial, often there are sequences that beg you to ask the question, "How did they do that?" Unfortunately, today’s audiences tend to dismiss anything that appears as though it may have taken some daring to achieve as coming from a computer. And although it’s true that action sequences that could... Read more