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Is 4:2:2 video worth it? Can you even tell the difference over 4:2:0?

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The difference between 4:2:2 and 4:2:0 along with 8-bit vs 10-bit was a hot discussion back when the Panasonic GH5 was announced. It was the first small form factor camera to offer 10-bit 4:2:2 internal, and it confused a lot of people. It still seems to confuse a lot of people, but even if you do understand it, can you even really see a difference between 4:2:2 and 4:2:0?

While only offering 8-bit colour, not 10-bit, Gerald Undone decided to compare 4:2:0 recorded internally on his Sony A7III with external 4:2:2 recorded using the Atomos Ninja V to see if you can really see a difference in the footage. It may not be as significant as you might think.

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DIYP takes a look at the new Chroma 4×5 large format technical camera

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The Chroma 4×5 large format technical camera has intrigued me since it was announced last February. When I found out its creator, Steve Lloyd, was UK based, I got in touch to find out if he’d planned to visit The Photography Show this year. It turned out that he had, so I asked if he could bring along one of his Chroma cameras so I could see it for myself.

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The Chroma is a new and unique large format technical camera

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I find the rebirth of film to be absolutely fascinating to watch. No longer are they merely the tools we need to do our jobs. They’re something more than that now. They’re a passion. People are using them because they want to, and not because they have to. And that’s why I find it so interesting. That so many people still want to shoot with film. Not only that but now new film cameras are still being developed, too.

This one is called the Chroma, and it’s been developed by UK-based photographer Steve Lloyd and being funded through Kickstarter. Chroma is a 4×5 large format technical camera with all the front and rear standard movements one would expect from such a beast. What one doesn’t expect in a camera like this, though, is this kind of price. At only £250, it’s an absolute steal.

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