{"id":2923,"date":"2015-10-30T14:43:16","date_gmt":"2015-10-30T21:43:16","guid":{"rendered":"https:\/\/ww3.ambientskies.com\/new-cameras-of-2016-facts-and-rumors\/"},"modified":"2023-02-24T12:51:42","modified_gmt":"2023-02-24T19:51:42","slug":"new-cameras-of-2016-facts-and-rumors","status":"publish","type":"post","link":"https:\/\/ambientskies.com\/blog\/filmmaking\/new-cameras-of-2016-facts-and-rumors\/","title":{"rendered":"New cameras of 2016: Facts and Rumors"},"content":{"rendered":"

Every year the video\/film production community gathers at the biggest nerd event that shan’t be named (NAB<\/a>) to gawk at all of the cool new gear that is being unveiled by all of the top brands catering to the industry.<\/p>\n

Just like every year, there’s a healthy amount of competition trying to get it right for their consumers. Some fall short and others take off like the speed of light, but most have something to offer to all crowds.<\/p>\n

It’s exciting to see how quickly these companies are turning around new cameras with the improvements that DPs<\/a> and Camera Operators are asking for. <\/p>\n

It almost seems like there’s too much to choose from… almost that is.<\/p>\n

More and more we are seeing technology get better and more unified while the price remains affordable.<\/p>\n

<\/p>\n

So…<\/p>\n

What are the best affordable cameras from 2016? <\/h2>\n

Let’s get this out of the way. <\/p>\n

All cameras are kind of expensive. There’s nothing ‘professional’ on the market that comes in under a grand. And while a great cinematographer or director can use anything, if you’re making things for corporations or brands, you want to be prepared. <\/p>\n

<\/p>\n

Right now there’s a hot spot between $15,000 and $30,000 that most companies are aim for in terms of budgeting.<\/p>\n

Don’t you worry you $10,000-and-below range people, there are plenty of bones being thrown your way this year.<\/p>\n

So what’s out there to use? <\/strong><\/p>\n

<\/p>\n

\"Cameraman<\/p>\n

 <\/p>\n

The Canon ME20F-SH<\/h2>\n

Well first off, let’s look at Canon’s new little innovation that can see where your eyes can’t. <\/p>\n

The ME20F-SH is set to be released in December and I’m sure we will see a slew of people rushing to test this camera, but definitely not to buy it. <\/p>\n

Though the sensor technology and some of the specs make this camera amazing, others specs are without a doubt, disappointing. <\/p>\n

The fact that it only captures in Full HD is a drawback, the limited high speed is a drawback, and the ergonomics are not looking too good. <\/p>\n

Besides these flaws though, this camera is going to find it’s use for specific shots or a specific scene, but would not be ideal as an A cam. <\/p>\n

Read more about this camera in the following blog<\/a>…<\/p>\n

Canon ME20F-SH Specs<\/h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Sensor<\/p>\n<\/td>\n

\n

Full frame 35mm<\/p>\n<\/td>\n<\/tr>\n

\n

Pixels<\/p>\n<\/td>\n

\n

Total: 2160 x 1200 (approximately 2.59 MP)<\/p>\n

Effective: 2000 x 1128 (approximately 2.25 MP)<\/p>\n<\/td>\n<\/tr>\n

\n

Color Filter System<\/p>\n<\/td>\n

\n

RGB Bayer array<\/p>\n<\/td>\n<\/tr>\n

\n

Lens Port<\/p>\n<\/td>\n

\n

Canon EF Cinema Lock type<\/p>\n<\/td>\n<\/tr>\n

\n

Interface (Inputs\/Outputs)<\/p>\n<\/td>\n

\n

Outputs<\/p>\n

HD\/3G-SDI: 2 (#1 with OSD, #2 clean)<\/p>\n

 <\/p>\n

HDMI: 1<\/p>\n

Inputs<\/p>\n

Genlock: Input only<\/p>\n

Mic: 1 x 3.5 mm stereo mini jack<\/p>\n

Remote Control A: 1 x 2.5 mm stereo mini jack (Canon unique protocol)<\/p>\n

Remote Control B: 1 x Circular 8-pin connector (Canon unique protocol)<\/p>\n<\/td>\n<\/tr>\n

\n

Format<\/p>\n<\/td>\n

\n

1920 x 1080p: 50 \/ 59.94<\/p>\n

1920 x 1080PsF: 25 \/ 29.97<\/p>\n

1920 x 1080i: 50 \/ 59.94<\/p>\n

1280 x 720p: 50 \/ 59.94<\/p>\n

768 x 576p: 50<\/p>\n

640 x 480p: 59.94<\/p>\n<\/td>\n<\/tr>\n

\n

Exposure<\/p>\n<\/td>\n

\n

Auto: Iris, Gain, Shutter and ND operating together (Cannot set auto \/ manual separately)<\/p>\n

AE shift \/ AE response selectable<\/p>\n<\/td>\n<\/tr>\n

\n

Gain<\/p>\n<\/td>\n

\n

Manual: 0 dB to 75 dB (3 dB intervals), ISO4M equivalent at gain 75 dB Auto: Iris, Gain, Shutter and ND operating together, Gain limit is settable from 36 dB to Off \/ 75 dB<\/p>\n<\/td>\n<\/tr>\n

\n

Shutter<\/p>\n<\/td>\n

\n

Manual: 1.4 stops<\/p>\n

Auto: Iris, Gain, Shutter and ND operating together<\/p>\n<\/td>\n<\/tr>\n

\n

Iris<\/p>\n<\/td>\n

\n

Manual: 1\/2 stops push auto iris available (used with assign button)<\/p>\n

Auto: Iris, Gain, Shutter and ND operating together<\/p>\n<\/td>\n<\/tr>\n

\n

ND Filter<\/p>\n<\/td>\n

\n

Electric Manual: 2 density (1\/8, 1\/64)<\/p>\n

Auto: Iris, Gain, Shutter and ND operating together<\/p>\n<\/td>\n<\/tr>\n

\n

Focus Control<\/p>\n<\/td>\n

\n

Manual focus (when used with RC-V100)<\/p>\n

ONE SHOT AF (used with assign button)<\/p>\n<\/td>\n<\/tr>\n

\n

White Balance<\/p>\n<\/td>\n

\n

AWB\/Kelvin (2000K – 15000K) \/ Daylight \/ Tungsten \/ Set A \/ Set B<\/p>\n<\/td>\n<\/tr>\n

\n

IR<\/p>\n<\/td>\n

\n

IR cut filter ON\/OFF (electric manual)<\/p>\n<\/td>\n<\/tr>\n

\n

Digital Zoom<\/p>\n<\/td>\n

\n

2x \/ 4x<\/p>\n<\/td>\n<\/tr>\n

\n

Power<\/p>\n<\/td>\n

\n

Input: 11 to 17 VDC<\/p>\n

Consumption: approximately 11 W (body only)<\/p>\n

Input Connectors<\/p>\n

1 x 4-pin XLR<\/p>\n

1 x 2-pin<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Packaging Info<\/p>\n\n\n\n\n
\n

Package Weight<\/p>\n<\/td>\n

\n

4.65 lb<\/p>\n<\/td>\n<\/tr>\n

\n

Box Dimensions (LxWxH)<\/p>\n<\/td>\n

\n

10.8 x 10.3 x 9.7″<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

The Red Raven<\/h2>\n

The next little critter on the list is the RED Raven which is set to be released in February 2016, just in time for NAB. <\/p>\n

This little guy packs quite a punch and is probably going to dominate the $10,000 and below crowd. <\/p>\n

With 240 fps at 2K and 120 fps at 4K raw, this camera is said to provide just as clean of an image as it’s predecessors, but with a lighter weight body and fully compatible with the RED Weapon. <\/p>\n

RED is offering three different packages when purchasing the camera, the brain only, the jetpack package, and base i\/o package. <\/p>\n

Check out more here at RED’s website<\/a>…<\/p>\n

 <\/p>\n

\"red_Raven_1\"<\/p>\n

No test footage available<\/p>\n

RED Raven Specs<\/h3>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Type<\/p>\n<\/td>\n

\n

Touchscreen LCD<\/p>\n<\/td>\n<\/tr>\n

\n

Resolution<\/p>\n<\/td>\n

\n

1280 x 720<\/p>\n<\/td>\n<\/tr>\n

\n

Contrast Ratio<\/p>\n<\/td>\n

\n

1000:1<\/p>\n<\/td>\n<\/tr>\n

\n

Brightness<\/p>\n<\/td>\n

\n

400 cd\/m2<\/sup><\/p>\n<\/td>\n<\/tr>\n

\n

Pixel Density<\/p>\n<\/td>\n

\n

315 PPI<\/p>\n<\/td>\n<\/tr>\n

\n

Color Depth<\/p>\n<\/td>\n

\n

8-bit RGB, 4:4:4 progressive scan (16.7 million colors)<\/p>\n<\/td>\n<\/tr>\n

\n

Colors<\/p>\n<\/td>\n

\n

70% NTSC<\/p>\n<\/td>\n<\/tr>\n

\n

Viewing Angle<\/p>\n<\/td>\n

\n

±80° U\/D\/L\/R<\/p>\n<\/td>\n<\/tr>\n

\n

Touch<\/p>\n<\/td>\n

\n

Projected capacitive (PCAP), multi-touch<\/p>\n<\/td>\n<\/tr>\n

\n

Range of Motion<\/p>\n<\/td>\n

\n

Tilt: +90 to -150°<\/p>\n<\/td>\n<\/tr>\n

\n

Connector<\/p>\n<\/td>\n

\n

DSMC2 LCD\/EVF pogo connector (26-pin)<\/p>\n<\/td>\n<\/tr>\n

\n

Mounting<\/p>\n<\/td>\n

\n

2 x M4 captive screws<\/p>\n<\/td>\n<\/tr>\n

\n

Hood<\/p>\n<\/td>\n

\n

Mounting: M2x0.4 x 4.5 mm (max depth)<\/p>\n<\/td>\n<\/tr>\n

\n

Power Consumption<\/p>\n<\/td>\n

\n

4 W<\/p>\n<\/td>\n<\/tr>\n

\n

Operating Conditions<\/p>\n<\/td>\n

\n

Temperature: 32 to 104°F \/ 0 to 40°C<\/p>\n

Humidity: 0 to 85% non-condensing<\/p>\n<\/td>\n<\/tr>\n

\n

Storage Conditions<\/p>\n<\/td>\n

\n

Temperature: -4 to 122°F \/ -20 to 50°C<\/p>\n

Humidity: 0 to 85% non-condensing<\/p>\n<\/td>\n<\/tr>\n

\n

Dimensions<\/p>\n<\/td>\n

\n

4.21 x 4.92 x 0.49″ \/ 107 x 125 x 12.5 mm (with hinge)<\/p>\n<\/td>\n<\/tr>\n

\n

Weight<\/p>\n<\/td>\n

\n

8.0 oz \/ 226.5 g<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n
\n

Packaging Info<\/p>\n<\/td>\n<\/tr>\n

\n

Box Dimensions (LxWxH)<\/p>\n<\/td>\n

\n

9.1 x 5.95 x 2.7″<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

The Sony F65<\/h2>\n

There is a rumor floating around that Sony is developing a new camera to replace the F65 which never really took off here in America. <\/p>\n

Why, might you ask? <\/p>\n

Because of that pesky Arri Alexa which seems to be doing all of the right things when it comes to their design and quality. <\/p>\n

Sony has realized that they need to build a camera that offers more options at a price that turns the heads of Americans. <\/p>\n

<\/p>\n

Check out more about the rumors here<\/a><\/p>\n

\"Cameraman <\/p>\n

A quote from: http:\/\/www.sonyalpharumors.com\/sr2-possible-8k-cine-alta-sony-camera-specs\/<\/a><\/p>\n

‘Sony is working on a 8K Cinealta camera which will replace the current top of the line Sony F65 camera. The sensor will be based on the <\/i>A7r2 back-lit CMOS<\/i><\/a> technology and will include a global shutter mode (either mechanical or electronic) <\/i><\/p>\n

– 60FPS in DCI 8K resolution<\/i><\/p>\n

– 240FPS in DCI 4K resolution<\/i><\/p>\n

– 16 bit RAW uncompressed and compressed onboard recorder<\/i><\/p>\n

– ProRes, DNxHD, DNxHR, AVCHD, XAVC, SR, MPEG-2, H264<\/i><\/p>\n

– Burst mode allows for higher FPS<\/i><\/p>\n

– Sony F55 form factor and weight<\/i><\/p>\n

– To be introduced in early 2016<\/i><\/p>\n

– Price point will surprise many people<\/i><\/p>\n

– Sony FZ mount’<\/i><\/p>\n

 <\/h2>\n

Canon 1D X MKII<\/h2>\n

Canon seems to be dropping a lot of new products over the course of the next six months, a few that I have heard about are the Canon 1D X MKII which is rumored to be released in April 2016, but no real spec information available yet.<\/p>\n

\"Canon_EOS-1D_X_Mark_II\"<\/p>\n

 <\/p>\n

Another addition rumored to be unveiled from Canon is the C200<\/strong><\/span> which is going to be a 4K camera. <\/p>\n

You can check out more about the C200 here<\/a><\/a><\/p>\n

\n

<\/p>\n

What about other camera rumors? <\/h2>\n

There are some companies we haven’t heard from yet concerning upcoming releases for 2016, companies like AJA, Arri, Black Magic Designs, Panasonic, etc. <\/p>\n

Does this mean that they are secretly concocting a camera model to blow your mind?<\/p>\n

Maybe.<\/p>\n

But it also could mean that they are hurting financially and do not possess the capital to compete in the R&D department. <\/p>\n

I hope that it is not the case for companies like AJA. <\/p>\n

We most certainly know that Arri is not hurting right now :-). Whatever the reason, there’s still plenty of time for new and exciting cameras to emerge in 2016 so keep a look out!<\/p>\n

 <\/p>\n

Check out some additional resources discussing camera comparisons and other useful tips to help gain more knowledge about various video production topics. <\/p>\n

The Canon C300 Vs. Sony Fs7 camera package<\/a><\/p>\n

The right length for video commercials and online advertisement?<\/a><\/p>\n

Defining DIT: The big misconception<\/a> <\/p>\n

Straight Outta Compton’s DOP chose to fly with the RED Dragon<\/a><\/p>\n

 <\/p>\n

If you are not too familiar with the different equipment that is needed to produce professional video, take a moment to read this ebook on What Camera Package is Best for my next Video Production<\/a> below. Our experts explain all of the main differences of production equipment and what equipment is recommended most for different industries.<\/p>\n

<\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Every year the video\/film production community gathers at the biggest nerd event that shan’t be named (NAB<\/a>) to gawk at all of the cool new gear that is being unveiled by all of the top brands catering to the industry.<\/p>\n

Just like every year, there’s a healthy amount of competition trying to get it right for their consumers. Some fall short and others take off like the speed of light, but most have something to offer to all crowds.<\/p>\n

It’s exciting to see how quickly these companies are turning around new cameras with the improvements that DPs<\/a> and Camera Operators are asking for. <\/p>\n

It almost seems like there’s too much to choose from… almost that is.<\/p>\n

More and more we are seeing technology get better and more unified while the price remains affordable.<\/p>\n<\/p>\n

So…<\/p>\n

What are the best affordable cameras from 2016? <\/h2>\n

Let’s get this out of the way. <\/p>\n

All cameras are kind of expensive. There’s nothing ‘professional’ on the market that comes in under a grand. And while a great cinematographer or director can use anything, if you’re making things for corporations or brands, you want to be prepared. <\/p>\n<\/p>\n

Right now there’s a hot spot between $15,000 and $30,000 that most companies are aim for in terms of budgeting.<\/p>\n

Don’t you worry you $10,000-and-below range people, there are plenty of bones being thrown your way this year.<\/p>\n

So what’s out there to use? <\/strong><\/p><\/p>\n","protected":false},"author":11,"featured_media":2928,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[60],"tags":[],"acf":[],"yoast_head":"\nNew cameras of 2016: Facts and Rumors<\/title>\n<meta name=\"description\" content=\"2016 is a big year for new cameras. There are lots of new and buzzy tools for you to use on any sized project. 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