Arri has a new camera, onboard pro-res at many qualities.
Sony have upgraded the F5/55 line..
-audio levels off the menu and onto the pot.
-2k S16 mode - crop sensor - this is great for those looking for a bit more DOF and some practical zoom lenses (like me!)
Also Davinci Resolve 10.
Im guessing that it is cool but they still dont quite get it
The motion image biz is going through the same thing we went through with digital stills 10 years ago.
I promise you we're gonna look back on the Alexas of today and laugh that we or somebody paid 80 grand for a 2k camera that hit the scales the same as a Toyota Prius.
Not knocking Arri because in so many ways, they know their industry and how to play to it, but it's all changing and changing fast.
The Amira , well Arri's got some big b___s, because who would introduce a a new 2k small(er) form factor camera at Arri prices and for who, photojournalists? We all know how well the profession is doing.
Just like a Nikon D800 will shoot to the perceived quality of any still camera made today, for what $3,000, we're going to see the same thing in motion, maybe even more pronounced.
Look at the BM pocket camera. It looks like a cell phone and that's not a bad thing if it can shoot the quality and has the flexibility of a large camera.
I think the next change out of hardware will be software, especially for coloring. Todays suites are too clunky and way too complicated. Cinex will do the basics, which is kind of like C-1 or Lightroom, but without a few extra features like selective color, masks and tracking, in layers. Yhose three interfaces I mentioned are 10x easier to learn and work than Di-Vinci and I own the full Di Vinci version.
Today's post production is time consuming and expensive. Not editing, because good editing really takes time but color correcting, some green screen, some simple effects is just way too consuming and doesn't need to be.
I just priced out 14 videos that had a section of "difficult" green screen. Not awful, but the room was way too small and we had no option so the kinos lighting the background are rom the sides and obviously are brighter than the center. I sent a few clips to my effects guy and he wanted $1800 to $2,800 a video. At 14 videos that's a lot even with a good budget. I took three different clips, shot on three days, dropped them into fcp 7 with an rt mask, layered it on the time line with three clips stacked and boom, green gone, it looks really good.
And that is from one simple plug int that I paid about 80 bucks for, so to me software will become the great equalizer in all of this.
On a side note, you can see how money impacts post production. There is an American TV show called Hell On Wheels. The Pilot was georgous. Beautiful sets, makeup to match the coloring, coloring to match the style.
The next few episodes held to the same quality and slowly but surely after a season, it went to a standard color grade, kind of out of camera warm.
So time is money, money spins the world.