« Last post by Etienne on Today at 12:53:21 AM »
Lets sets some records straight on this thread. Sony did not create CineAlta with Panavision trust me I know.
Sony have brought out the FS7 not because of Canon but because of Blackmagic and the URSA and the AJA Cion, Blackmagic along with Red had massive presence at Photokina.
Canon have done remarkably well with the C300 less so with the C100 and C500. For serious Motion Picture the Arri Alexa is still outfront followed by the Red Dragon, Arri are also doing really well with the Amira.
Red have a module to use the Canon ultrasonic motors with a remote control and the camera can also perform these functions via an upcoming smartphone app. this is an area both Sony and Canon miss to be taken seriously at the high end pro end.
Neither Sony or Canon do full-frame motion picture only Super 35 this means proper anamorphic is out of the question and even the v.good F55 only gets considered for TV.
Lastly the Alexa success is as much down to its uncluttered user controls and simple menus something both Sony and Canon fail to understand.
No offence intended Jeffa but this comment is nearly entirely incorrect information.
-Sony worked with Panavision in designing many cameras, most notably the F35 which is also rebadged as the Panavision genesis.
-The FS7 is more likely a response to the most successful camera in its target field (C300) rather than a response to two cameras that have not been released yet, and that are designed for a different field anyway (controlled environments) as they max out at 400 ISO. The FS7 is a documentary camera intended to replace the C300's position.
-The C100 is more successful than the C300 in sales numbers, both are extremely successful, the most successful video cameras today actually. The C500 is less so due to the fierce competetion from Arri/Red.
-The C100/300/500 can be controled wirelessly with a smartphone/tablet, giving you a live video feed, ability to change all the settings and start/stop triggering. I used it myself, works brilliantly on the C300, you just put the dongle in its dedicated port and open your web browser on your tablet/phonehhhhh
-Nobody does full frame motion picture cinema cameras, super 35 is the "full frame" of the video world. Red Epic and Scarlet are s35, so are the Arri Alexa and Amira, and Canon C100/300/500 and Sonys FS7/FS700/F5/F55/F65 and Blackmagic ursa and Aja Cion, and all cinema cameras. You don't need full frame to shoot anamorphic, it doesnt have anything to do with that, what you need is 4:3 aspect ratio, only the Alexa offers that. You can still shoot anamorphic on all these cameras given their high resolution though, and of course anamorphic is a very small/niche market.
-The Alexa's success is not due to the menu interface, it's due to the special colour science they employ, and extremely high dynamic range and very filmic response in the highlight roll off. Skin tones look absolutely lovely on the Alexa, very organic. 99% of the Alexa shooters use it only because it's the closest digital camera to 35mm film in terms of image charachterestics. They would not care less about the menu system as long as everything works, it's all about the image unless it's an ENG camera. Actually the Alexa is the farthest from simplicity and ease of use compared to Canons/Sonys, it's extremely heavy, requires a matte box, EVF, monitor, requires an external Codex recorder, and requires heavy media managment, but that's fine because it's designed to be used in controlled environments where you have time to set up your camera. If you need a ENG style camera they made the Amira for that Canon menus are very simple too. Sonys are fine too.
Interesting post, but I don't thing the C100 offers wifi control.