The just recently announced NIKON D3200 DSLR camera is already shipping via Amazon in the US, people in europe have to still wait, since you can only pre-order for now (but the camera should be available soon, according to Nikon). The D3200 features a 24.2 MP DX-format CMOS sensor (crop factor of 1.5) and has EXPEED III image processing. It is an entry level DSLR but it can shoot 1080p HD video - still the problem is that it won't output clean HDMI signal (which could be fixed by a firmware update theoretically).
After all, we got a nice new cheap camera to chose from when shooting low budget video or just want to take casual fotos. While the Nikon D3200 should be superior in terms of photography compared to the Panasonic GH2, still in video the Lumix GH2 is the top of the class. We will see if there will be a firmware hack for the D3200 - it is quite possible since there is some hacking done with Nikon cameras, but it will take time for sure. Maybe we can order the D3200 to sweeten the long time of waiting for the D800 which is still only available via preorder.
Sony unveiled the Sony Alpha SLT-A57K 16.1 MP Exmor DSLR HD Video Camera with a CMOS Sensor, Translucent Mirror Technology, 3D Sweep Panorama and 18-55mm Zoom Lens. The midrange d-SLR features a 16-megapixel, APS-C-sized sensor and is positioned to compete with Canon's EOS Rebel T3i and the Nikon's D5100. It can be pre-ordered on amazon already, for a price of $699.
Sony has announced the SLT-A57, a replacement for the original A55 fixed-mirror, electronic viewfinder DSLR. The A57 still features a 16MP sensor and LCD viewfinder but incorporates them into essentially the same body as the more expensive A65. Use of the latest Bionz processor means the A57 offers a wider-than-ever selection of photographic features and image processing modes. There's also an optional HVL-LE1 video-lighting LED panel.
16.1MP CMOS sensor
Latest Bionz processor
Larger, FM500H battery (same as A65 and A77)
Auto ISO 100-3200
1,440,000 dot LCD electronic viewfinder
920,000 dot bottom-hinged rear LCD
10 frame per second continuous shooting mode with AF (12fps at 8.4MP crop)
Picture Effects processing options
Clear View Zoom up-sizing digital zoom
Peaking manual focus guide overlay
1080p AVCHD 2.0 movies at 60 or 24 fps (50 or 25 in Europe)
Sadly, neither the Atomos Ninja 10-Bit Uncompressed to Apple ProRes Field Recorder nor the Black Magic HyperDeck Shuttle Raw Video HDMI Recorder supports 50frames and 60frames in Full-HD (1080p), so we are limited to the internal recordings on the camera. The Sony Alpha SLT-A57 supports AVCHD 2, so the video output should be decent. We are looking forward to example videos and will keep you posted on updates.
Just as Canon announced the C300 DSLR Video Camera - RED, the company behind the legendary RED EPIC camera, announces the RED SCARLET-X with Canon EF or Arri PL mount: a 4K camera with a price starting below 10.000US$. While the Canon C300 is a 1080p camera that uses 4:2:2 sampling, (50 Mbps MPEG2) and captures a total of 3840x2160 pixels with its Super 35mm image sensor, the RED has other specs: 440Mbps RED REDCODE RAW format at 444 , 12fps at 5K, 25fps at true 4K, 30fps in 3K and 60fps in 2K.
Canon also announced a real 4k Camera to be available somewhere in the next year. So 2012 could become the real year of DSLR Video.
Here is the original press release from RED.COM
RED STUDIOS HOLLYWOOD, Hollywood, Calif., November 3, 2011 – RED Digital Cinema has officially released its third industry-changing camera, the Scarlet-X. With burst modes up to 12 fps at full 5K resolution alongside 4K motion capture from 1-30 fps, the camera allows professional photographers and cinematographers to simultaneously capture motion footage and still content. Never miss a shot. Ever. Scarlet-X’s compact design, endless modularity and advanced feature set provide a future-proof solution catering to every shooter’s needs, leaving one-dimensional DSLRs and 1080p camcorders in its wake. Priced at under $10,000, Scarlet-X advances RED’s vision to democratize superlative cinema and professional photography.
Scarlet-X comes standard with a Canon EF or PL mount, which can be swapped easily using Scarlet-X’s interchangeable lens mount system. Panavision, Anamorphic, and Nikon lenses are also compatible with the camera, providing ultimate freedom when it comes to creative decision-making. The addition of HDRx reaches up to 18 stops of dynamic range, bringing digital images closer than ever to the natural perception of the human eye.
With the innate ability to capture 5K REDCODE RAW stills and true 4K motion footage, Scarlet-X produces visually lossless files that can easily be graded and finished. Combining all of the finest qualities of cinema and photography into one camera, Scarlet-X allows the customer to have the best of both worlds. Compromise nothing. Shoot everything.
“The future is dependent on those who push… not those who react,” said Jim Jannard, founder of RED Digital Cinema.
RED is now taking orders on RED.com for Scarlet-X.
Since delivering their first camera – the RED ONE – in 2007, RED Digital Cinema has jumped ahead of the pack over camera companies that had dominated the market for decades. Feature films shot with RED cameras such as the Academy Award-winning movie “The Social Network” and the more recent “Contagion” have contributed to a lineage of cinematic success. Since the 2011 introduction of DSMC (Digital Still & Motion Camera) technology, photography icons like Bruce Weber, Greg Williams and Inez + Vinoodh have used RED cameras to shoot covers and spreads for the some of the most influential fashion magazines in the world.
Follow the announcement at REDUSER.net/SCARLET.
[Update 20.11.2011] Philip Bloom posted a balanced take on the Scarlet. Worth a read.
Recommended reading on this topic: The Truth About 2K, 4K and The Future of Pixels
***You can download the full 1080p version of this video for a more accurate presentation.
Here's a "fair" test between the iPhone 4S and the Canon 5D MK II. I made a little rig that allowed me to shoot both cameras at the same time side by side. All scenes are perfectly synced together so you can pause and scrutinize the frames! See photo of the makeshift rig in the photo area.
Exposure, shutter speed, frame rate and picture style were matched as close as possible between the two cameras. (I used the Zacuto Z-finder to help me adjust exposure for both iPhone and 5D)
This test shows that the tiny F2.4 lens and sensor on the iPhone are pretty nice. It even got a little depth of field!
I did not overlay the exact ISO and Stops 5D settings per shot. It was too much to keep track for this simple test. To be fair I matched 5D exposure to the iPhone so no "Cinestyle" / 24p here.
Here are the settings:
- AE.AF locked. That's all you have!
Canon 5D MKII
- Canon 50mm 1.4
- ISO 160 ~ 640 (varied per shot to match the iPhone)
- F 7~22 (varied per shot to match the iPhone)
- Shutter 1/60th
- Auto WB
- Standard Picture Style
- 1080p 30
Canon announced the company’s newest flagship professional DSLR today, the 18 megapixel full-frame Canon 1Dx. The 1Dx will sit atop Canon’s model line as an update to both the Canon 1Ds and the 1D Mark IV, and is expected to debut for $6800 body-only in March 2012.
The 1Dx will feature dual DIGIC 5 processors, which Canon claims offer approximately 17 times more processing power than the previous generation DIGIC 4s.
Those looking for an upgrade to the 5D Mark II for video capture may find a friend in the 1Dx, as it is capable of 1080/30p/25p/24p HD video capture, with options for 720/60p/50p as well. The image sensor has been designed with video in mind, meaning that downsampling errors and the resultant moire effect should be significantly reduced. The file system’s 4GB limit has also been worked around, with an automatic file splitting functionality enabling up to 29 minute and 59 seconds of continuous video capture.
The camera also supports two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, to ease syncing up multiple cameras in post. The 1Dx will also support both intraframe (ALL-i) and interframe (IPB) compression, to aid post-production and editing workflows, depending on need. The camera also offers manual audio level control both before and during video capture with the internal monaural mic or an external stereo microphone.
Canon's all new full-frame CMOS sensor ensures that video footage captured on the EOS-1D X will exhibit less moiré than any previous Canon model, resulting in a significant improvement in HD video quality. A desired feature for many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file capacity and the EOS-1D X is the answer. The new camera features automatic splitting of movie files when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to 29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be seamlessly connected in post production, providing filmmakers the recording time they want in the same convenient DSLR form factor. The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards.
The Canon EOS-1D X also includes manual audio level control, adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input.
The Canon 1Dx offers USB transfer, but will also sport a wired gigabit Ethernet port for stable wired transmission of video and still images at up to 1000BASE-T transmission speeds. That should allow not only faster transmission of files, but longer, more practical connection solutions for professionals. For on-camera storage, the 1Dx will eschew SD storage in favor of dual Compact Flash cards.
The low-light capability of the EOS-1D X is evident in its incredible ISO range and ability to photograph in extremely low-light conditions. Adjustable from ISO 100 to 51,200 within its standard range, the new model offers a low ISO 50 setting for studio and landscape photography and two high settings of 102,400 at H1 and 204,800 at H2, ideal for law enforcement, government or forensic field applications.
Everyone's talking about the new iPhone 4S that was announced by Apple recently. But is there more to it than improved optics? Even if not, the camera is a huge improvement over the previous model: 1080p video recording, 8 Megapixel photo sensor, f/2.4 aperture.
Behind all the updates, the most interesting is HSDPA support. In countries such as Austria or Japan, where HSDPA is widespread, this is a very welcome hardware upgrade. Still, why is there no HSPA+ support? In cities with a weak broadband coverage (everything above a few MB upstream) - such as Vienna, this is really akward. We still have to fall back to the Samsung Galaxy S2 i9100, which offers HSPA+ among other great features. So the "only" killer feature of the Apple iPhone 4S remains the greatly improved Camera - which is to question, concerning the price of such a gadget. An Amazon Search for the iPhone 4S yields no results, obviously, since the device is said to be available from mid October.
Our recommendations: wait for the iPhone 5 and get some real gear instead.
Mosaic Engineering showed a filter that it said to remove lots of annoying issues with the Canon 5D MKII: The filter can be easily removed for standard photography and requires no modification of your hardware (which means no voiding of warranties).
* Optically corrects most aliasing and moiré artifacts in 5D Mark II HD video.
* No reduction of 5D Mark II 1080p video resolution for most lenses.
* True optical correction before video image capture – no postproduction software filters or processing.
* Easily installed or removed in less than 20 seconds.
* 5Dmk2 H.264 codec compresses with better quality with the VAF-5D2, because false, high-frequency, aliased image components are eliminated before compression.
Moire, caused by the downscaling from the image information from the huge 21MP chip affects by line skipping, manifests in issues on fine fabrics, hair, bricks, water, lines. This filter removes all that, and more.
PLUSSES: Removes most of the visible moire, only the most stubborn stuff it cannot remove. Big success on aliasing. A massive improvement on image quality for video compared to shooting without it.
NEGATIVES; Not good with wide angle lenses. Some lenses work better with it than others. Not parfocal. Slight image softening. Close up focus changed. Be careful with old Nikon lenses with the bit of metal that sticks out. It can damage your filter and if you are not careful like me…your camera too! (Update: this issues seem to be fixed in the production version.)
[Update 2012-03-11] I was asked if this filter can be used on the Canon EOS 5DMKIII and I actually think it can, while it remains to be tested if it actually makes sense to use it. The Canon 5D MK3 still has moire: its processor doesn’t line skip anymore but it still has to process the image down from 22.3 MP to 1920×1080 which may create some minor moire or aliasing issues.