Oct 22, 2019
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Overview of 4 large-format digital cinema cameras and lenses

Bigger and better sensors are becoming easier to produce and the advantages far outweigh the disadvantages—here’s a roundup of four top large-format cinema systems.

Screen Shot 2019-06-04 at 4.18.45 PM

The ARRI ALEXA MINI LF gives many cinematographers exactly what they asked for, specifically a large-format Arri camera in a smaller form factor without any compromises to image quality or usability. Arri is unique in that it didn’t push the resolution of its full-frame sensor, providing 4.5K resolution that is just enough for today’s productions. It isn’t simply image quality for the Mini LF, because it opens the door for using the camera in many previously impossible spots or systems.

Screen Shot 2019-06-04 at 4.19.28 PM

The SONY VENICE 6K is a spectacular camera and Sony’s roadmap of firmware updates makes a great camera even better. The VENICE boasts a 6K full-frame sensor. One cool feature is the CBK-3610XS Rialto Extension System, which lets you detach the sensor block to use in advanced setups where size and weight are important concerns. Firmware 3.0 unlocked lots of new resolution and frame-rate options, but the coming version 4.0 does even more. It’s an appealing choice if you are looking to go large format.

Screen Shot 2019-06-04 at 4.20.11 PM

The RED Digital Cinema DSMC2 is featured with a MONTRO 8K VV Sensor (an 8K full-frame sensor) and 8192 × 4320 recording at 60 fps. The DSMC2 has some of the most impressive specs; Red code Raw, 17 stops of dynamic range, and a relatively compact form factor separate this from the rest. If you want to start getting into 8K there aren’t many with this feature set.

Screen Shot 2019-06-04 at 4.20.31 PM

The CANON C700 Full-Frame. Sitting at the heart of the CANON C700 Full-Frame is a 5.9K CMOS sensor with Dual Pixel AF. This is a separating feature of Canon’s cinema cameras and will provide brilliant autofocus when you pick up the Canon EF version and EF-mount AF lenses.

Also available from Canon are SUMIRE primes, which aim to capture the spirit of classic lenses with a unique look that flatters subjects as you move wide open. They are also PL mount, so you can use them on many cameras with ease. These are full-frame optics and the set includes 14, 20, 24, 35, 50, 85, and 135mm focal lengths.

Credit: B&H New York, USA, large format NAB 2019 reviews, from their recent Newsletter

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Front Page, Headline, Industry News

Overview of 4 large-format digital cinema cameras and lenses

Bigger and better sensors are becoming easier to produce and the advantages far outweigh the disadvantages—here’s a roundup of four top large-format cinema systems.

Screen Shot 2019-06-04 at 4.18.45 PM

The ARRI ALEXA MINI LF gives many cinematographers exactly what they asked for, specifically a large-format Arri camera in a smaller form factor without any compromises to image quality or usability. Arri is unique in that it didn’t push the resolution of its full-frame sensor, providing 4.5K resolution that is just enough for today’s productions. It isn’t simply image quality for the Mini LF, because it opens the door for using the camera in many previously impossible spots or systems.

Screen Shot 2019-06-04 at 4.19.28 PM

The SONY VENICE 6K is a spectacular camera and Sony’s roadmap of firmware updates makes a great camera even better. The VENICE boasts a 6K full-frame sensor. One cool feature is the CBK-3610XS Rialto Extension System, which lets you detach the sensor block to use in advanced setups where size and weight are important concerns. Firmware 3.0 unlocked lots of new resolution and frame-rate options, but the coming version 4.0 does even more. It’s an appealing choice if you are looking to go large format.

Screen Shot 2019-06-04 at 4.20.11 PM

The RED Digital Cinema DSMC2 is featured with a MONTRO 8K VV Sensor (an 8K full-frame sensor) and 8192 × 4320 recording at 60 fps. The DSMC2 has some of the most impressive specs; Red code Raw, 17 stops of dynamic range, and a relatively compact form factor separate this from the rest. If you want to start getting into 8K there aren’t many with this feature set.

Screen Shot 2019-06-04 at 4.20.31 PM

The CANON C700 Full-Frame. Sitting at the heart of the CANON C700 Full-Frame is a 5.9K CMOS sensor with Dual Pixel AF. This is a separating feature of Canon’s cinema cameras and will provide brilliant autofocus when you pick up the Canon EF version and EF-mount AF lenses.

Also available from Canon are SUMIRE primes, which aim to capture the spirit of classic lenses with a unique look that flatters subjects as you move wide open. They are also PL mount, so you can use them on many cameras with ease. These are full-frame optics and the set includes 14, 20, 24, 35, 50, 85, and 135mm focal lengths.

Credit: B&H New York, USA, large format NAB 2019 reviews, from their recent Newsletter

Leave a Reply

Your email address will not be published. Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

Front Page, Headline, Industry News

Overview of 4 large-format digital cinema cameras and lenses

Bigger and better sensors are becoming easier to produce and the advantages far outweigh the disadvantages—here’s a roundup of four top large-format cinema systems.

Screen Shot 2019-06-04 at 4.18.45 PM

The ARRI ALEXA MINI LF gives many cinematographers exactly what they asked for, specifically a large-format Arri camera in a smaller form factor without any compromises to image quality or usability. Arri is unique in that it didn’t push the resolution of its full-frame sensor, providing 4.5K resolution that is just enough for today’s productions. It isn’t simply image quality for the Mini LF, because it opens the door for using the camera in many previously impossible spots or systems.

Screen Shot 2019-06-04 at 4.19.28 PM

The SONY VENICE 6K is a spectacular camera and Sony’s roadmap of firmware updates makes a great camera even better. The VENICE boasts a 6K full-frame sensor. One cool feature is the CBK-3610XS Rialto Extension System, which lets you detach the sensor block to use in advanced setups where size and weight are important concerns. Firmware 3.0 unlocked lots of new resolution and frame-rate options, but the coming version 4.0 does even more. It’s an appealing choice if you are looking to go large format.

Screen Shot 2019-06-04 at 4.20.11 PM

The RED Digital Cinema DSMC2 is featured with a MONTRO 8K VV Sensor (an 8K full-frame sensor) and 8192 × 4320 recording at 60 fps. The DSMC2 has some of the most impressive specs; Red code Raw, 17 stops of dynamic range, and a relatively compact form factor separate this from the rest. If you want to start getting into 8K there aren’t many with this feature set.

Screen Shot 2019-06-04 at 4.20.31 PM

The CANON C700 Full-Frame. Sitting at the heart of the CANON C700 Full-Frame is a 5.9K CMOS sensor with Dual Pixel AF. This is a separating feature of Canon’s cinema cameras and will provide brilliant autofocus when you pick up the Canon EF version and EF-mount AF lenses.

Also available from Canon are SUMIRE primes, which aim to capture the spirit of classic lenses with a unique look that flatters subjects as you move wide open. They are also PL mount, so you can use them on many cameras with ease. These are full-frame optics and the set includes 14, 20, 24, 35, 50, 85, and 135mm focal lengths.

Credit: B&H New York, USA, large format NAB 2019 reviews, from their recent Newsletter

Leave a Reply

Your email address will not be published. Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>

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