Sony has now officially announced the new full-frame Sony FX3 cinema camera. As expected, it’s pretty much an A7S III in a new body, but there are some notable differences, geared towards dedicated video creators and filmmakers rather than hybrid shooters. It loses the EVF but gains a (removable) top handle to improve its audio options.
A slew of new Sony FX3 images has been leaked by Nokishita ahead of the official Sony announcement expected tomorrow. There isn’t much in the way of specs, except for reports that it’s basically a Sony A7S III in a slightly different body, but we do now know its dimensions, 4K frame rate and weight, as well as what it looks like all over.
The videos posted by Gav and Dan (who’s currently MIA), AKA The Slow Mo Guys, are always visually very appealing. But for me, they’re at their most interesting when the video is about something that’s actually related to photography or filmmaking. And while this video, which explains the inner workings of a 16mm movie film camera is shot at a rather modest 1,000 frames per second, it’s no less mesmerising and interesting than the crazy 100K+ fps stuff they usually post.
Sony has posted a video to YouTube with w premiere set for February 23rd at 10am Eastern, (3pm UK time). While they haven’t officially named the camera, the “New Alpha” kind of gives it away, given the Alpha logo on the leaked photos of the video-oriented FX3.
By all reports right now, the FX3 is basically looking to be an A7S III in a slightly different body, possibly geared more towards Sony’s new Airpeak drone platform. But exactly what advantages it may offer over the A7S III, and what it may lack, remains to be seen.
Another leaked photo of the Sony FX3 has popped up on Twitter. And this one might go some way towards explaining why the Sony A1 doesn’t have a flippy out LCD when the Sony A7S III does. It seems that Sony might not have wanted cannibalise sales of their upcoming FX3 – largely rumoured to have otherwise similar specs to the A1.
The newly leaked photo shows the FX3 from behind with what is obviously a sideways hinge, allowing you to flippy the LCD around to the front, offering much more articulated viewing options than the standard tilt screen of the Sony A1. The original poster of the photo is unknown, but New Zealand DP, Joe Lawry posted it to his Twitter account for posterity.
There’s been a bit of misunderstanding over exactly what Canon’s Dual Gain Output (DGO) is on the newly announced Canon EOS C70 4K Super 35mm cine camera. Some have speculated that it might be something akin to dual ISO (given that gain and ISO are often interchangeable in the video world) and, well, sort of, but not quite.
Canon has released a new white paper detailing what Dual Gain Output for their new 4K Super 35mm sensor is and exactly how it works to provide over 16-stops of dynamic range.
We knew it wouldn’t be long before Canon finally started switching their cinema cameras over to the RF mount and they’ve finally done it. Today, Canon has announced the new Canon EOS C70 Super 35mm cinema camera. They say it’s in a “mirrorless-style body” although it actually looks a lot more like a big ol’ chunky DSLR than it does a little mirrorless camera.
It’s a pretty hefty little beast that offers Dual Gain Output (DGO) claiming an impressive 16+ stops of high dynamic range. Naturally, as it’s Canon, it features Dual Pixel CMOS AF and can shoot 4K DCI at up to 120fps (without overheating, though?) or a Super 16 2K crop at up to 180fps.
If you’ve got a hankering for some Canon 8K but you’re a little disappointed with the EOS R5 then have no fear. Now that 8K is at least out there in the Canon world, it’s seemingly going to become more common.
According to a report on Canon Rumors, Canon is set to introduce two new Cinema EOS 8K cameras in 2021. One will be a new flagship along the lines of the C700, while they say that the other will be a little more modular like the C300 and C500 lines.
The 2K Arri Alexa was a revolution in digital filmmaking. It was the first camera that saw a lot of big Hollywood filmmakers really start paying attention to digital and consider ditching the laborious, messy and expensive film process. But with 4K now standard and 8K on the way, does it still hold up?
In this video, Gene Nagata, AKA Potato Jet, puts it side-by-side with the new 8K Samsung Galaxy S20 Ultra to see how well these tiny sensor 8K smartphones do and just how well the old Arri Alexa competes today.
Z Cam has announced the new E2-M4 cinema camera. It’s a Micro Four Thirds unit with 13 stops of dynamic range (16 with WDR enabled) that shoots 10-Bit 4K DCI at up to 120 frames per second in ProRes 422 and 1080p at up to 240 frames per second.
Like Z Cam’s other cinema cameras, it’s essentially an aluminium alloy cube with a hole in the front for your lens, a handful of buttons, and connection points spread all around. It features an OLED display on top and has gigabit ethernet and wifi for streaming, remote control and preview.