Sony also announced a 4K camcorder that for $6,500 only gives you an impressive recording quality_ XAVC Recording Format at 4K 50p/60p, 4:2:2 10-bit at 500/600Mbps, HD at up to 223Mbps. I bet that we wont have to wait a long time to see some high-end E or A mount camera with 4K recording too! (Source: Sony / Found via: Nofilmschool)
One more QX news. These can be controlled via the new RM-LVR1 Live View Easy Remote too!
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Hey Admin,
What chance the RX cam will be a 50mm equiv? No rush.
P.s – The welcome distraction into mountain talk yesterday made me think of this lovely book by an Italian author – Premo Levi. Book is ‘The Periodic Table’ a series of short stories based loosely on elements. The one about Iron is about his friend and their adventures in the mountains in their youth. Definitely worth a read.
That’s a true pocket cinema camera. I want that only if it’s compact enough. The 600mbps though is killer for storage.
That’s simply wrong. The target audience is completely different.
The Z100 allows you to quickly shoot usable footage as it has pretty much everything on board it is targeted towards people that have to shoot quickly to be efficient at producing content.
The Black Magic cameras are rather targeted at people that can accept spending a lot of time on a lot of footage to get the best possible end result.
The Z100 does only 422 4K, meaning that the chroma channels are both only 1920×1080 at 4K and therefore smaller then the Chromatic Information of a BMCC recording to 2.5K DNG. The only channel bigger is the Luminance Channel. (The output resolution of the Z100 is 4K but the Color is only recorded at 1920×1080. The Color channels are compressed. As a result the Actual Informations a Frame contain are less then that of 444 4K.)
The thing about the Z100 is that it is ready to shoot out of the Box you might plug in a microphone and a headlight but it is essentially having everything you need to shoot footage efficiently. The BMCC and BMPC need to be rigged up to become useful, and even though you could use the BMPCC without a rig, this would mean a huge compromise in functionality.
In difference to the Z100 the MFT BMD can make use of a Variety of fast lenses allowing them to achieve a way more cinematic feel (e.g. S16 PL-Lenses or C-Mount, Arri-B and MFT lenses… ) paired with the huge dynamic Range of the DNG-Files that allows better grading abilities these cameras are capable to create Images highly different then that of the Z100.
In general I would see the Z100 rather be Used for Broadcast (ENG), Interviews, CI, Event Coverage, Sports & Documtentary work.
The BMD-Cameras are in my opinion rather targeted at Commercials,
Independent Film, Low Budget Film, TV-Drama etc. .
Yeah, PXW-Z100 seems to address all the complaints that I had about the AX1 … if only it were $2k more! Sigh.
The sensor size of 1/2.33″ – is just between bad and extremely low end consumer cameras. Therefore the sensitivity is low, noise is high, just good for the bright daylight, and even then it has the visible noise.
Actual resolution is crippled to about 1000 lines. Due to strong antialiasing filter and marketing reasons.
And the size is just incredibly huge. Clearly sony is trying to sell the pro-like shape, but not the result of the camera.
What’s good? Not much. As the 4:2:2 and really high bitrate is of no professinal use by with such a poor sensor sensitivity and low noise performance. Though anyway it is a step forward to the right direction.
On dvxuser.com I read that the effective sensor size is even smaller than 1/2.33″ (the camera makes the image from a portion of the 1/2.33″ sensor).
On the other hand, is it really that huge? It seems more or less the same as the popular EX1R.
PMW-EX1R has 3 sensors of 1/2″
The EX1 has three half-inch CMOS sensors – each significantly larger than this new 1/2.33. Minimum illumination for the new 4k is quoted as 4 lux. Minimum illumination for the EX1 is 0.14 lux. That is quite a big drop in sensitivity.
Working in lousy light conditions will be the Achilles heel of both these new budget Sony 4k cameras. If you don’t work in lousy light conditions which many do not, then they look great to me, and the X20 lens to 600mm zoom looks great too. It all depends what you shoot. A Blackmagic or DSLR will be great for fashion and designer shoots if you remember to budget for lenses and accessories. The Sonys will be much more practical for live events, sport, news etc.. The F55 and F5 will be superior pro cameras but at a significantly higher budget. You make your choice.
Crippled resolution? But I read elsewhere the clarity and sharpness are amazing(one even said it looks too sharp to be real). The only drawback of a small sensor is the lack of super thin DoF. Ok there’s another one, inferior high ISO performance. But from the sample provided, the night shot is actually good.
Sensor size does not determine light sensitivity fool.
would not be even surpised, if the sony Z1 4K camera has the same sensor size
I really hope the Nex 7 successor has 4K video recording! I hope Sony also quickly transfers to the H.266 (HEVC)video codec has for the basis of Sony XAVC/S video recording platform.
Storage will be crazy. I don’t current SD/MS can handle that.
SDHC/SDXC certainly can. 600 megaBITS/sec = 75megaBYTES/sec which is well within the 105megaBYTES/sec specified in the UHS-I standard. So, yes, you need really nice SD cards to achieve/maintain that data rate but it isn’t that big a deal. Panasonic even has UHS-II cards on the market which can are faster than 105MBps–they are really expensive though!
The 8-bit version of this camera tops out at 150mbps which is close to what most Class 10 cards can do. As much as I would love the option of 10-bit video on the NEX-FF and future cameras I suspect it will be 8-bit and closer to that 150mbps data rate.
Finally a codec and a bitrate interesting for a reasonable price !
I hope that the NEX-VG and NEX-FS systems will also be entitled to an evolution.
XAVC – 10bit – 4:2:2 (HD only)
I wonder what Red corp. lawyers think about these days? 🙂
They got to find someone to sue if not they get fired.
That the beauty (ironic) of business today.
This isn’t even close to RED quality. F65 is better then RED but that is the league RED plays in. Hell the BMCC 2.5K camera shoots at 960 Mb/s (5MB frame at 24fps)
That lvr1 is great. I wonder why it doesn’t say it is compatible with the qX10 as well. In English:
http://www.sony.co.uk/product/cac-other-accessories/rm-lvr1
So, I truly don’t know too much about video, just out of curiosity, could any explain me the difference between this and the FDR-AX1?
Someone in Hong Kong has got the QX10 already, also there are no reliable cantonese translation available, but of course I can read it.
http://www.mobile01.com/topicdetail.php?f=545&t=3536402&p=1
I hope Sony take this sensor and put it in a small E mount camera as a competitor to the BMPCC. It wouldn’t have to have 4k but it would be nice to have the same codec or prores.
So much worse image quality for more money than Blackmagic? Thank you Sony. 😀
Maybe not worse, who knows yet? Some of the Blackmagic footage on the net looks like it has been shot through a nylon stocking.
The small sensor of the new Sony 4k’s worries me. A problem if you are in bad light. Also a bit noisier than ideal for the sort of packing we’ll need to make 4k files a viable size for internet delivery. The noisier the picture, the harder the compression has to work.
We must wait to try one for real.
FYI: BBC requirements to the freelancers http://www.bbc.co.uk/guidelines/ footage to comply at least EBU R118 standard, and “…a minimum of 3×1/2” sensors or 1×1”
and a recording format of a minimum of 50Mbs inter-frame or 100Mbs intra-frame”.
Because they need to translate these materials in HD. Obviously, if the material content is extremely interesting, they will accept as is. But it is not often the case.