ADVERTISEMENT FEATURE CVP FIND YOUR IDEAL CAMERAWITH CVP If you want to get hands-on and evaluate your next camera buy, CVP’s showrooms house lots of production equipment. As well as cameras and lenses, there are plenty of accessories – and our experts are on hand to advise on your individual needs. To book a demo, talk to a professional and explore the Creative Space or Newman House showrooms, call +44 (0) 208 380 7400, email firstname.lastname@example.org or visit cvp.com angle, choosing between ISO or gain, and a range of monitoring and exposure functions, such as false colour and waveforms. And, being able to load in and use LUTs is a common feature on video-centric cameras. Cinema cameras also have more comprehensive options for colour and gamma, thanks to different post- production requirements. Some mirrorless offer Log shooting – such as the Canon EOS R, which accommodates C-Log3. But their larger cinema-focused siblings, like the C300, feature C-Log2 – which is designed for a video sensor. This captures a greater dynamic range, but does require more time in post. Of course, this might not be ideal for your workflow, and a mirrorless or DSLR camera could be exactly what you need. For more tailored, expert advice on the systems best suited to you, get in contact with CVP! formfactor, making it fantastic on the shoulder, handheld or on sticks. It has a comprehensive set of inputs and outputs, such as SDI and full-size XLR. It also has amodular design, meaning the camera can be configured for a range of productions. The C300 offers the ability to record Cinema RawLite internally, and you can shoot XF-AVC at a higher bit rate than the C70. The XF605 offers amore traditional, fixed- lens camcorder experience, but image quality is still good. Shallowdepth-of-field, withwider lenses, ismore challenging thanwith the larger sensors of the C70 and C300. The XF605 needs minimal bolt-on accessories and is ideal for run-and-gun filmmakers, newsgathering, studio and live productions. It has great audio input options, professional connections and industry-standard recording formats.
MULTI-TOOLED From rigging up with a matte box and rails, to stripped-down for handheld use, cinema cameras can do it all
PICKING THE RIGHT VIDEO CAMERA acquisition, sensors are built to capture motion rather than still frames. This can be a focus on increased sensor readout speed, which will result in less rolling shutter artefacts. Or, it could be reduced resolution to concentrate on larger pixels. This increased photosite size allows for greater sensitivity and dynamic range – vital when shooting films. Some mirrorless cameras feature an anti-aliasing filter, but they are far more to find lots of 1/4in or 3/8in threads built on the body for accessories, such as a wireless transmitter, audio receiver or external monitor. Cooling the internals of a video camera is incredibly important. Many of the popular cinema cameras use massive heat sinks to make sure everything stays at a low enough temperature. They typically have active fan cooling, too, so the device doesn’t cut out in a long recording session. Lots feature an internal ND system, instead of putting an ND filter in front of the lens. Much larger batteries make a difference for long shoots, as well as a secure power input, so you can charge from a wall outlet safely. Sensor design and video formats When made specifically for video
There are lots of cameras on themarket from different manufacturers. So, let’s take a look at three options from just one – Canon. The XF605, EOS C70 and EOS C300 Mark III are all distinctive, and placed at varying price points. The C70, Canon’s first cinema EOS camera to feature an RF lensmount, is a logical next step for users coming frommirrorless and DSLR cameras. It has a formfactor that improves ergonomics overmirrorless, but is not much bigger. Thismeans you can put the C70 onto smaller gimbals, aswell as shooting handheld. It features the same Super 35 DGO sensor as the C300 Mark III, resulting in superb image quality, although its internal video formats aren’t quite at the same level. The C300 Mark III is the C70’smore professional and better-built brother. It’s a much larger andmore familiar EOS C series common on video systems – to counter moiré patterns. It’s not uncommon for stills cameras to have limited formats and codecs, although they have come a long way over the past few years. Improvements can be found in a combination of the compression method, data rates, bit depth and colour subsampling. DCI formats are normally reserved for cameras made for video, too. Audio ease Sound is critical to video, and it’s another area handled much better with dedicated cameras. There are usually audio inputs, like the mini or full-size XLR. These allow integration of professional audio equipment, as well as multiple sound sources. There are physical audio controls on the body, which is faster and easier to access, rather than having to dig into the menu system. Crucially, the quality of the preamps inside video cameras are better than those found in stills –making the actual quality of your audio superior. Menus and functions Video cameras have different menu systems than stills, as they are committed to specific video controls. These settings include changing from shutter speed to
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