What I want from NAB 2012.

cowpunk52 said:
No job I've worked with the C300 has even pretended to kind of consider an FS-100. Not even on the radar.
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Barry_Green said:
As for the C300 being Canon's FS100 competitor, I can see why Kholi says that (being it's only 8-bit and isn't feature-for-feature entirely competitive with the F3) but undoubtedly the C300 is intended to compete with the F3, and a forthcoming (someday) C100 would be their competitor to the FS100. Of course, by the time Canon releases a C100 to compete with the FS100, Sony will already be on the FS700 and FS300 and FS900... :thumbsup:
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This is exactly why I said that. And, in regards to the FS700, exactly why I said the C300 needs a serious price slash. Or could use one, anyway.

I'm not saying C300 is a bad camera, it's a pretty darned good image and I liked playing with it.
 
cowpunk52 said:
No job I've worked with the C300 has even pretended to kind of consider an FS-100. Not even on the radar.
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Add a Gh2 to that list.
Oooops.. I said it.

But I've had requests for Canon MK2 over RED. Yeah, MK2 for green screen work on the Dexter show promotional shoot.
 
As probably the only non filmmaker here I'd like an affordable replacement for the HPX500. We need something between the HPX370 and the 3100 :)
 
Barry_Green said:
Of course, by the time Canon releases a C100 to compete with the FS100, Sony will already be on the FS700 and FS300 and FS900... :thumbsup:
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Speaking of which - has anyone else heard a rumor about an FS700 for NAB? Basically an FS100 with ND filters, SDI and 4K!
Yeah, I don't believe it, either. But I have heard the rumor.
 
Garion said:
As probably the only non filmmaker here I'd like an affordable replacement for the HPX500. We need something between the HPX370 and the 3100 :)
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This is very true, and would be a welcome addition to the broadcast/reality world. In all the s35 and 4k fever, I worry about manufacturers forgetting that many productions need truely versatile 2/3" workhorses that can perform up to modern standards - i.e. full raster 1080p. But i do think Panasonic has something planned for this market.
 
dustylense said:
Add a Gh2 to that list.
Oooops.. I said it.

But I've had requests for Canon MK2 over RED. Yeah, MK2 for green screen work on the Dexter show promotional shoot.
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I can certainly echo those experiences. I'm thinking of starting a line of 'camera skins' that we can use to place over the right tool for the job when a producer requests something off the wall :tongue:
 
cowpunk52 said:
I can certainly echo those experiences. I'm thinking of starting a line of 'camera skins' that we can use to place over the right tool for the job when a producer requests something off the wall :tongue:
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I've too though about that. Like a C300 inflatable to cover the gh2! LOL. Just don't let client stand next to the camera and make sure the AC keeps the body inflated. Don't what what looks like a melting camera in set!
 
cowpunk52 said:
This is very true, and would be a welcome addition to the broadcast/reality world. In all the s35 and 4k fever, I worry about manufacturers forgetting that many productions need truely versatile 2/3" workhorses that can perform up to modern standards - i.e. full raster 1080p. But i do think Panasonic has something planned for this market.
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Imho, this market is quite a minefield now. A 2/3" global shutter 1080p camera is kind of the "how low can you go" camera recently. The $20,000 HPX2000 body looks like quite an expensive camera even though it is quite useful. I just think the network pricing game has run its course and these cameras are kind of out there by themselves. I use a Varicam "H" and love the image. So much better than the HPX-500 but I was still ready to jump on the 2/3" Scarlet and get a few. I guess what I am saying is if Panasonic comes out with a $13,000 HPX-600 I don't think I would be interested. Now a 2/3" chip that is made for broadcast lenses for $5000 and I would be very interested. The big chip allure of days gone by has been replaced with bigger, cheaper chips. It is upside down but that is the reality.
 
I'd like to see a camera with a Super 16 sensor (the glass is getting cheaper), that has a relatively compact form factor, outputs a minimally compressed file format (e.g. Adobe CinemaDNG), and uses a standard hard disk or SSD for storage.

If I was being greedy then 4K and support for higher frame rates would be nice.

The Ikonoskop A-Cam dII is pretty close, only it uses proprietary memory cards. The Digital Bolex falls into this category too, but I'm a little sceptical if the team can deliver in the timeframe and budget they've got. Neither Red nor Ikonoskop did, with more funding and bigger teams.

The Weisscam SOHA, which is due to be announced at NAB, could well be what I'm dreaming of.
 
I'd like something like the Sony FS700, with the following differences:

1. Support for ≥10-bit output via the HDMI and 3G-SDI ports. Sony is charging more in part because of that port, yet until it releases its 4K upgrade, 3G-SDI will be pointless, as Sony intentionally hobbled the camera with 8-bit video.

2. Log output.

3. Native dynamic range of at least 12 stops.

4. HDR capability using a simultaneous dual readout of each pixel. This is, I believe, how the Alexa achieves its high dynamic range.

5. 4K raw with the adjustable wavelet (à la CineForm-RAW) compression settings.

6. 4K recording to simple SSD recorder (e.g., Hyperdeck Shuttle).

7. Global shutter would be nice.

Price: Under $10K. Open request to manufacturers: Hop to it.
 
Field recorder with 444 8bit that records to Proress 422 and works perfectly in every way with the FS100
 
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