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Canon U.S.A., Inc., has introduced a completely revolutionized EOS-1D series camera, the Canon EOS-1D X

Digital SLR camera.As the new leader in Canon's arsenal of professional DSLRs, the EOS-1D X will be a

high-speed multimedia juggernaut replacing both the EOS-1Ds Mark III and EOS-1D Mark IV models in Canon's

 lineup. Enhancing the revolutionary image quality of the EOS-1Ds and speed capabilities of the EOS-1D

series, the EOS-1D X DSLR features an 18-megapixel full-frame Canon CMOS sensor, Dual DIGIC 5+

Imaging Processors, 14-bit A/D data conversion and capable of shooting an incredible 12 frames-per-second

(fps). Canon's EOS DSLR cameras and accessories have a long-standing legacy of providing high-quality

results to professionals in a wide range of markets,including sports, nature, cinematography, wedding

and commercial studios. The addition of this new model will help take this tradition to a whole new level.

The EOS-1D X features three DIGIC processors, including Dual DIGIC 5+ image processors capable of delivering

approximately 17 times more processing speed than DIGIC 4, and a dedicated DIGIC 4 for metering and AF control.

 In conjunction with the newly developed high-performance 18-megapixel full-frame Canon CMOS image sensor,

the Dual DIGIC 5+ processors provide high-speed continuous shooting, lower noise, and a significant

increase in data processing speed than previous EOS-1D models. This new level of data processing speed

allows the EOS-1D X to perform many functions including chromatic aberration correction for various Canon EF

lenses in-camera instead of through post-production software. The DIGIC 4 processor utilizes a new 100,000-pixel

 RGB Metering Sensor for enhanced exposure accuracy with color and face detection, and works together with

the camera's new EOS iTR (Intelligent Tracking and Recognition) AF.The low-light capability of the EOS-1D X

is evident in its incredible ISO range and ability to photograph in extremely  low-light conditions. Adjustable

from ISO 100 to 51,200 within its standard range, the new model offers a low ISO 50 setting for studio and

landscape photography and two high settings of 102,400 at H1 and 204,800 at H2, ideal for law enforcement,

government or  forensic field applications.The EOS-1D X includes a brand new 61-Point High Density Reticular

AF, the most sophisticated DSLR AF system Canon has ever released. The 21 focusing points in the central

area are standard precision cross-type and effective with maximum apertures as small as f/5.6, depending on

the lens in use.

Enhanced EOS HD Video - New Compressions, Longer Recording

Centered around an all-new full-frame CMOS sensor with larger pixels than those found on the EOS 5D Mark II

 image sensor, the EOS-1D X utilizes new HD video formats to simplify and speed up post-production work.

The two new compression formats offered on the EOS-1D X include intraframe (ALL-i ) compression for an

editing-friendly format and interframe (IPB) compression for superior  data compression, giving professionals

the options they need for their ideal workflow. Answering the requests of cinematographers  and filmmakers,

the EOS-1D X includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing

multiple  cameras or separate sound recording to be synced together in post production.Canon's all new

full-frame CMOS sensor ensures that  video footage captured on the EOS-1D X will exhibit less moiré than

any previous Canon model, resulting in a significant improvement in HD video quality. A desired feature for

many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file

capacity and the EOS-1D X is the answer. The new camera features automatic splitting of movie files

when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to

29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be

seamlessly connected in post production, providing filmmakers the recording time they want in the same

convenient DSLR form factor. The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p

 (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video

 can be recorded  in either NTSC or PAL standards.The Canon EOS-1D X also includes manual audio level control,

 adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely.

A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via

an optional external microphone through the stereo mic input.

Pricing and Availability

The Canon EOS-1D X Digital SLR camera is scheduled for March 2012 availability and will be sold in a

body-only configuration at an estimated retail price of $6,800.00 US.

For more information, visit: Canon.com.

This adage is true to the extent that even if the best ‘camera print (sic)’ of a film’s theatrical release find its way to the illegal CD/DVD circuits, people would still have to go to Cinema theaters to get a good 3D film experience. Yet, this shall prove false in Indian Cinema in the near future. Providers of Film Content Encoding for theaters are jumping into the 3D bandwagon with unacceptable image compression and zero security features. It is not just that they compromise on quality … they put the creativity of the filmmakers open to piracy says Jijo, Director Chota Chetan.

He adds that Devoid of a proper HDCP in the MPEG picture stream played out from the operators cinema server, anybody in the projection cabin can record Stereo Image Pairs (which makes the 3D picture) onto two low-cost consumer camcorders with HDMI input. A teenager with basic computer skills can convert this file/s for BlueRay DVD or for the now exploding 3D ready TV market. Thus, once ‘filmgoers’ start seeing brand new 3D films within the comforts of their homes, filmmakers would realize that the old adage is no more valid

With more & more cinema screens across india converting to digital cinema projection, all is not well with projection quality of secondary projection system practiced in india called E-Cinema, which projects in resolution of 1K (1280x720p) or 1080p (1920x1080p) with mpeg-2(QUBE) or mpeg-4(UFO)format, where as DCI(Digital Cinema Initiative) suggests projecting cinema digitally @ 2K (2048×1080) in 24 or 48fps in Jpeg2000 format called as D-Cinema. For both 2D/3D.

With cost of of D-Cinema coming down and more films from Hollywood releasing in 3D only in D-Cinema, adaption rate is faster for D-Cinema even in smaller towns. But E-Cinema spread across india in last 5years with more than 5000 screens for 2D and they are coming out with E-Cinema 3d to theaters with less cost involvement for theatre owners.

For last 1 year with more and more films especially Hollywood films releasing in 3D, which supports D-Cinema only, Indian 3D films and Independent(Non Studio) hollywood films start supporting e-cinema 3d which makes two companies aggressively promoting e-cinema 3d in India.

Qube’s E-Cinema 3D, which runs @ 48 FPS 1920×1080 MPEG-2 at 120 Mbps, where left & right eye is individually watermarked and each output has HDCP with projector locking for twin projectors.

UFO’s E-Cinema 3D, does side-by-side Left & Right eyes within one 1920×1080 frame @ MPEG-4, roughly @ 8 Mbps. The output goes to a 3D processor (splitter) to separate into two outputs for twin projectors.

In December 2010, ‘My Dear Kuttichattan – special edition’ (Tamil) released across Tamil Nadu with more than 55 Screens in e-cinema 3D projection system provided by QUBE Digital Cinema Company using twin 1080p Projectors & Silver Screen. Same film being released in Malayalam using QUBE E-Cinema 3D across Kerala in September 2011.

Recently was asked to evaluate UFO E-Cinema 3D by UFO Moviez for release in Kerala for the above said film for e-cinema projection.

First and foremost when I saw their output in their chennai office, Asked few questions about the security of content, since they use splitter to project both left & right eyes to twin projectors, technicians there don’t have any idea about the technology used and asked to come back later and they never come back.

Issues with UFO E-Cinema 3D are as follows at present (since it’s in R&D and not out fully)

Splitter to split images without any security (they call it as 3D processor)
Visible Watermarking on one eye
Stretching the movie which was encoded to fit both left & right eye in single 1080p frame, which is similar to what Samsung, LG or Sony 3DTV use to play 3D content in the 3DTelevision, which looses resolution for bigger screen and long throw projections.

With above all, I believe they don’t even use any security for existing 2D films too with clear visible watermarking system.

Issues with E-Cinema 3D systems in general

Cost can’t dictate quality, which is at present in India.
Image compressions used in current e-cinema systems needs to be improved. My suggestion is to use same compression used in D-cinema which is Jpeg2000 with current e- cinema resolution of 1K or 1080p.
Filmmakers need to be consider at every aspect, there is common issue by DOPs over the quality of e-cinema system across india.
Filmmakers put 2 to 3 times more money & effort than 2D for creating 3D films and their consideration is utmost priority for 3D release, which includes consistent checking of 3D projection and handling of 3D polarized glasses

I believe there needs to be robust, secure, resolution and experience for digital cinema projection in theaters which will only can separate 1080p HD channels on DTH platforms & Cinema theaters, else the battle is on for TV vs Web rather than Cinema Theaters.

I’m not against E-Cinema rather, when hearing complains from DOP’s across India about bad digital cinema projection which they can do much about this in release times left with no options, I try to remind them it’s not D-Cinema and its only e-cinema which we create for our own convenience & cost leads to that which they are not ready to listen and complaint about the entire digital cinema projection.

Note: This blog post is no way to support or against any company and the issues regarding quality vs resolution vs security of content for filmmakers are utmost important and also for future of experiencing cinema in theaters rather than in TV via DTH, Youtube & Vimeo.

ARRI’s ALEXA camera offers several recording options, including recording directly to SxS cards in Apple ProRes format. This is called the Direct-To-Edit (DTE) option, and it makes for a very simple workflow. ProRes has proven to be a high quality and robust video format that is widely used in the industry today. The ALEXA has an uncompressed video output, but I believe many productions will choose to record in ProRes directly in the camera. Here is a 3 step guide for how to import ALEXA footage into Final Cut Pro.

1. Insert your SxS card into your MacBook Pro’s ExpressCard34 slot. If you have a computer without an ExpressCard reader, then use the Sony SBAC-US10 SxS Memory Card Reader. The card will show up in your finder as ARRI UDF. UDF stands for Universal Disk Format, which is an open file system.

2. Copy your footage onto a hard disk (preferably a redundant array). The files are named with Camera Name, Reel, Scene and Take numbers. Make sure to copy all clips AND the index.xml file. I recommend making a separate folder for each card copied.

3. Import the index.xml file into Final Cut Pro. Use the File -> Import -> XML function to do this.

Final Cut will pop up a dialog asking for some information. Set your destination to whatever your project name is (my project is called “Alexa”) and click OK.

Now all of your clips should appear in the bin. Notice they are under a folder named after the Camera Name and Reel info.

Repeat Step 3 for each card and you should have all of your footage imported in no time. Now you can start editing!

The below article is no way represent the view of the website owner and the sole intention of the

article to be reproduced here to reach out to wider audience. All the credits for the article

should go to Philip Bloom. To know more about him you can visit is website www.philipbloom.net

Shooting on the 5DmkII for LUCASFILM

I get asked this the most. Apart from which lenses should I buy. There is a lot of confusion amongst potential buyers as to which camera to buy. Not just from the Canon line, that is the Rebel T2i/ 55D, 7D, 5DmkII and 1DmkIV but also the GH1 and the Nikon D300S , D3s, D90 and D5000.

It’s almost impossible for me to recommend which model camera to buy because they all have their plusses and minuses and many of those are subjective, down to personal opinion. What may be important to me may not be important to you. Even when context is provided such as they are mostly shooting music videos, events, documentaries, movies etc then I still cannot answer.

We already put these cameras through the big test for Zacuto…but what about actual every day use…?

What I am going to do in this blog post is list what I believe are the pros and cons of each camera.Take that info and then decide for yourself what is the most important for you. For example some people love the look of the 5DmkII over the others whilst others find the shallow depth of field too much…

I am in the fortunate position of owning most of the cameras in this post (apart from two of the Nikons) so I feel quite qualified to give my opinion on this topic!

Here is a sensor chart showing you the different sizes available in the market. I will be referring to this a few times in the blog.

Nikon D3s

First off let us go over the non Canon options as that’s easier.  I have to say unless you have an huge array of G series Nikon lenses (if you have manual aperture Nikon lenses then your lenses will work will the Canons using a simple adaptor like the Fotodiox Pro) then forget the D90, D5000 and D300s as they don’t offer full manual control in video mode making them a huge pain in the backside to shoot with. The only Nikon that offers full manual control is the D3s. To get the full manual mode you need to be in tripod live view mode rather than hand held live view mode.

What do I think of the D3s? It is an incredible stills camera and a so-so video camera. It has a full frame sensor, one of only two cameras in this blog to have that. The thing that made me buy it was the absolutely incredible low light performance as highlighted in the Zacuto Shootout. It was this alone that made me buy it. In my low light test I shot at 25,000 ISO and got incredibly clean pictures due to a brilliant NR chip in there for video. This makes it outperform all the Canon DSLRs by a huge margin in low light. It’s just a shame that it is not as impressive in general use. All the Nikons are 720p 24p only too. That is not a huge dealbreaker but it’s a limitation. As is the old fashioned MJPEG recording format and 5 minute clip length. The HDMI live out seems to be slower than 24p when you hit record.

I bought this camera as a low light tool to supplement my Canon DSLRs, not to shoot whole projects on. For some of my documentary work low light will be extreme and this camera will shine. I will be able to shoot in very low light without having to shoot wide open with crazy shallow DOF. To think I could shoot in candlelight at F4 and it will look gorgeous…That’s epic for me. Shooting wide open is great but sometimes you don’t want that crazy shallow DOF, you want to control it. This camera will give you that option. You can stop right down and with the incredible high ISO you can shoot in not much light and still get exposure!

Sound wise it has a crappy built in mic like most of the cameras here but you can put an external mic in, but like most you have no control of the audio or any way to monitor it.

So that’s the Nikon D3s. A great stills camera with a killer low light video ability. Shame the rest is not great.

PROS: Full frame, INCREDIBLE low light in video

CONS: Expensive, 720p only, 24p only, 5 minute clips, MJPEG recording format, poor monitor out, no audio control.

Pansonic GH1

The Panasonic GH1 I have had since April last year and I still love it. It’s not a DSLR as it has no mirror but is often bunched up in the term Video DSLRs as it is a still camera with a video function too. We really should not get hung up on names for these cameras.

What do I think of the GH1? Well I love the small size. Love the EVF, moveable LCD, ability to take so many different types of lenses due to the lack of mirror and of course the price. Downside is the 1080p bit rate if a bit stingy meaning it breaks ups quite easily when trying to grade it. The 720p mode seems to hold up better but it’s such a shame that the 1080p is lacking. The 720p mode is 50p or 60p depending on where you buy the camera.

The camera comes in different flavours depending on where you buy it. In the EU it is 25p in 1080p mode (embedded in a 1080i stream) and 50p in 720p mode, so great for slow motion. Record time is limited to 29.59 minutes for EU tax reasons. If it could record 30 minutes or more it would be classified as a video camera and therefore have higher tax. Other PAL countries get this camera also in 25p but with the record time limitation. The US gets it in 24p (again embedded in a 60i stream) and 60p in 720p mode with no record time limitations. All the Canon cameras shoot in either 24p, 25p or 30p. They are non regional specific. A big downer on these cameras.

It has the best built in mic on all of the cameras and it’s stereo, although again we have no headphone jack. NONE of the cameras in this test have a headphone jack! If you plug in a monitor it switches off when you hit record. A big downer really! That needs to be fixed in the GH2.

Negatives aside. It’s a great little camera. The stock lens has the most impressive auto focus I have ever seen on a video camera as it tracks people’s faces and with a large sensor like in this camera (four thirds) it makes a huge difference. This makes it ideal for steadicam work as you can let the focus do it’s thing. Normally I say DO NOT USE AUTO FOCUS on any video camera. Manual will always be the way to operate a camera for me until it can read my mind and know what I want to be in focus! The image out of the camera is also pretty damn good. Of course what I want is a GH2 with better bit rate and proper monitor out, a headphone jack and controllable audio levels. A lot of this camera is already very good, it just needs a bump up in specs…

Low light is not brilliant. I find 1600 ISO way too noisy.

PROS: Cheap, light, small, 50p/60p mode in 720p, full HD, nice stereo mic, EVF, articulated LCD, great lens mount, some Panasonic lenses have amazing auto focus ability.

CONS: Weak AVCHD code, no HDMI out when recording, poor audio options again, recording limitations in EU,  geographically locked recording formats.

Canon Rebel T2i/ 550d

The new kid on the block and a damn impressive one too. I have left the 500D/ T1i out of this. Even though I own it due to the odd 20FPS 1080p mode and lack of manual control. This baby ups the game and is the first consumer DSLR that Canon have made with full HD and full manual control. It’s killer. With an image of almost comparable quality to the pro 7D it has taken the market by storm and rightly so.

With an APS-C chip in it which is a 1.6x crop of a full frame it has a bigger sensor than the GH1 but smaller than the D3s. It takes all the EF lenses designed for full frame cameras as well as the special EF-S lenses which are designed for this sized chip. These lenses are generally cheaper than their full frame versions so you can save money that way. Only downside is EF-S lenses cannot be used on full frame camera if you come to upgrade cameras at some point. The major investment with any of these camera is the glass, not the body. So always keep that in mind when buying lenses.

It has the same crappy audio options, as in no control and no headphone jack. But does have the full range of recording options. 24p, 25p and 30p in full HD and 50p and 60p in 720p mode. Meaning you get shoot great slow motion with this baby.

I am a big fan of this camera as it has brought the power of DSLR filmmaking to the mass market. Some people see this as a bad thing, in that by making the cameras so affordable there will a flood of people on the market selling themselves as cameramen. It’s only a tool, like any camera. What we will have is people discovering or even re-discovering a love of video due to this large sensor.

Things I don’t like about this camera? Well it’s a consumer camera and is therefore missing a lot of what I love in the PRO bodies. It uses SDHC cards, they are cheap are small but I hate their flimsiness. I much prefer CF cards, but that’s just me! I miss the top LCD. We have no display on this camera other than the main LCD. Not a deal breaker but a shame not to have it. Also missing is the second dial on the back of the body which means aperture and shutter speed are controlled by the same dial, via pressing a button in at the same time. I don’t like this at all. The build quality is pretty good, but when compared to the pro line, in particular the 7D it comes across as bit cheap, but then again it is! It uses different batteries to the 7D and 5Dmkii, but they are cheaper…HDMI out sucks too….it’s 1080i letterboxed image live out which drops to 480p when you hit record. You do get full 16×9 playback though.

Like all the Canon cameras the most you can record at a time is about 12 minutes. If you point at something that does not move much you can get it up to 14 minutes or so. The LCD is surprisingly the best of the bunch of all the Canon DSLRs. Highest resolution.

There is much debate over how good the video is of this camera compared to the 7D. Very damn close. I haven’t seen any specific side by sides, only that in my limited use of the T2i it just seems to be not quite as good as the 7D and am not sure why…it’s close. But just not quite as good…I would love someone to show me what it is that is different!

PROS: Cracking image in video mode, very cheap, smaller than the pro line, full list of video modes to record in, nice big APS-C sensor, great LCD screen

CONS: Not weatherproofed like the pro line, missing top LCD screen, missing second dial, poor HDMI out, no audio control, no headphone jack, no intermediate ISOs, no ability to dial in your white balance like the pro line, 12 minute record limit.

Canon 7D

The first Canon camera to embrace the video feature as it has a switch to set it in video mode or stills mode!

It’s got the same sized chip in it as the 550D/ T2i albeit in a MUCH more robust package. The 7D is a beast. It’s completely weathersealed. I have left this camera outside for 4 days in snow and rain doing timelapses and it has come through without a glitch. This is for me what sets it apart from it’s cheaper brother. The build quality is simply superb.

Video feature wise it’s the same…24p, 25p, 30p in 1080p mode and 50p 60p in 720p mode. It can also rattle of about 8 or 9 pictures a second in stills mode. Very impressive. It has the same audio limitations that we run into again and again. No manual audio controls and no headphone jack.

The image out of it is superb. It’s sensor is almost the same sized as the sensor in 35mm movie cameras meaning with a mod or two it can take proper cinema lenses. A massive plus in the indie movie world and of course in the big movie world! I have used it with Cinema lenses three times now and it’s simply incredible!

The live HDMI out is the best of the cameras so far. Still letterboxed 1080i but it stays like this even when you hit record. This is a big deal and something you must consider when looking at the different cameras to buy. Getting critical focus when the image drops to SD when you hit record is very very hard!

Some people say it overheats a lot, something people say happens with their 550D too. But I have not experienced this much. Although I do live in a bloody cold country! I did experience it when I was doing very long interviews for 2 hours or so of non stop recording, but even then it was just a warning light. It never switched off.

Low light ability seems to be about the same as the T2i but not a patch on the D3s

PROS: Superb weatherproofing, stunning image, good in low light, switch for video mode, HD monitoring even when recording, Nice LCD screen, great price.

CONS: Not as good as the other pro Canon line in low light, not full frame, crappy audio options AGAIN, 12 minute record limit

Canon 5DmkII

This was the one that started it all and is still for me the camera with the nicest image. That comes down to it’s full frame goodness and full HD. The 5DmkII is absolutely unique in the video world as it is the only video camera in the world, currently, that shoots video in full HD with a sensor as big as this. Now this does cause us some issues. Some people find that the full frame sensor makes it harder to get focus, as the larger the sensor the more shallow the depth of field. For me, I always say if it’s too shallow then stop down! It has great low light, better than the 7d but nowhere near as good as the D3s, so you can easily stop down and up the ISO to compensate…It’s aesthetically unique and that is what attracts so many filmmakers to it, including me, there is nothing else out there like this. The 7D has better options…the 5Dmkii has no 720p mode, has the same crappy hit record and drop to SD mode HDMI out, no dedicated video button. It does have manual audio levels which have been pointlessly hidden away in a menu that you can only set before you hit record and give you no audio levels on the LCD at all so there is still no way of knowing if you have are recording sound or not.

It’s highly unlikely we will ever see this camera get 50p and 60p. I simply think it cannot take it…It would overheat too much…talking of overheating, this camera has no warning light telling you it is overheating. What can happen, and I stress CAN, is the image can degrade the more heated up it gets. Then it will just switch off.

PROS: My favourite image out of them all, full frame beauty, manual audio levels, very good in low light, great build quality, you can get this camera for not that much more than the 7D if you shop around, did I say incredible full frame image godliness?

CONS: HDMI live out sucks, manual audio buried away in menus, no 720p mode, no overheating warning, DOF too shallow for some (although as I say just stop down!), 12 minute record limit, not as good weatherproofing as other pro Canon cameras, probably the most susceptible to rolling shutter issues of the pro Canons.

Canon 1DmkIV

The big daddy of the Canon line. This is first and foremost a stills sports shooters camera. The video is hidden away and is obviously secondary BUT must not be overlooked as it betters the other Canon cameras in it’s low light ability. It has a strange sized APS-H chip which is a 1.3x crop. This is a bit annoying for wide angles as there are no lenses made for this chip size so you will lose some length on the wide end.

The low light as I said is very powerful, again, not a patch on the DS3 but very impressive anyway. 3200 ISO is pretty clean, 6400 ISO is usable with a bit of post cleaning up.

It has the same video options as the 7D so we do have 720p 50p and 60p and we also have the same HD monitoring out even when recording. Audio of course still sucks with no manual audio level and of course no headphone jack.

The camera is built like a tank. It make the build quality of the 7D look like the T2i and that is saying something. This is one camera that can probably take some serious knocks and keep on going. It takes both CF cards and those flimsy SDHC cards. It also takes it’s own special batteries which make it last a lot longer in video mode. The batteries in the 7D and 5DmkII get eaten up very fast!

PROS: Incredible build quality, beautiful image, superb low light, great long life batteries, probably the best of the bunch for least rolling shutter issues.

CONS: Awkward 1.3x crop, heavy, expensive, crappy audio, 12 minute time limit.

In conclusion…

Is that helpful? I hope so. As I said, there is no one clear favourite…I prefer the full frame image out of the 5DmkII for sure, but the HDMI out is killing me, on a professional set it is just a big problem. Also it doesn’t have the 720p mode that all the other Canon cameras have. Although the 720p mode is not great due to the hideous aliasing and moire that it can bring up if not careful.

The 7D is probably the best all rounder. Has all the video rates your want, HDMI HD monitoring and is a great price. Many prefer the aesthetics of the 7D over the 5DmkII, me I don’t but it simply comes down to personal preference. It has best build quality for the money, great image…but I just prefer the 5DmkII image…it probably ticks more boxes than the rest. Please don’t put weatherproofing as not that important. Being from the video world where nothing is weatherproofed, it’s so exciting to use these cameras in appalling conditions and not worry about them!

Of course one thing that also holds people back is the worry that a replacement will come out for one of these making their camera obsolete. Well, that is a danger with everything in life! That is why your main investment is in the glass, not the body. Your lenses will last 20 years! Your bodies you will change every 2/3 years. That’s the market!

Sony will soon jump on the bandwagon with the Alpha range. Be very interested to see what they are bringing to the table. I have heard a couple of interesting rumours. I wonder if they are true? The Sony NEX 5 and 3 are coming out soon and are very cute but lack manual controls in video mode and are only 30p…

Whichever camera you chose, don’t forget…it’s only a tool! The most important thing is what you do with it!

Note: Based on the above article and user of Canon 7D & 5D mark II and after seeing the footages of all the mentioned cameras, the real winner is Canon 5D mark II with full frame 35mm type sensor and future proof EF lens  mount.

The Great Camera Shootout 2010:

Believe it or not, with the launch of Canon 5D mark II way back year and half back, there is only one camera which can record 2K images and you can carry the camera in your hand anywhere you want and to shoot anyplace you want. But all changed with the successive launch of Canon 5D mark II(Initially 30p and later 23.98p), Canon 7D (23.98p @ 1080p & 60p @ 720p) and Canon 1D mark IV (ISO 6400 with less grain).

With support from Vincent Laforte, Philip Bloom and Stu Maschwitz on web with their successive videos in a professional level which were then shown on their respective blogs and recent development of Canon & Vimeo partnered for contest with starting mobizode shot by Vincent, Canon sell cameras like hot cake. Then comes the accessory manufacturers like Red Rock Micro, Zacuto, Marshall electronics who started creating cinema style accessories for Canon HDDSLR cameras got bigger. The biggest of all comes NAB 2010 where there is talk or demo on every booth either about 5D or 3D(S3D).

Then comes The Great Camera Shootout 2010 done in partnership with Zacuto and industry leading DPs.

The above test where done in comparison with Kodak and Fuji Stocks, Canon 5D mark II, 7D, 1D mark IV, Panasonic GH1 and Nikon D3S.

You can watch all the 3 webisodes from the following link – http://www.zacuto.com/shootout