GEAR CAMCORDER COMPARISON
two-handed operation. The Canon’s menu and joypad are next to each other, and are more natural to use. Both cameras have Wi-Fi built in so can be controlled remotely via a smartphone app. The Sony can also live streamover Wi-Fi but the Canon uses an Ethernet cable. The Sony lets you streambroadcast-quality events via the optional MCX-500multi- camera Live Producer unit and RM-30BP Remote Commander units. This uses the 3G-SDI terminal and outputs 10-bit 4:2:2 in HD quality so is ideal for live events. Both cameras are very easy to understand and get to grips with. The Sony is a bit unusual as the camera is turned on and off by opening up the LCD screen, rather than having a dedicated switch. But at least you won’t leave it on in your bag by accident. Opening the Sony’s screen reveals buttons for white- balance, picture profile, slow and fast frame rates and the twin card slot, among others. Both cameras have built-in ND filters and a switch to change the lens frommanual to autofocus. There’s also a switch on the lens to change the operation of the sole control ring from focus to zoom functions on both cameras. The Sony has a button that switches the camera frommanual control to all-auto operation, so you can grab a shot in a panic if needed. The Sony has dedicated buttons to control iris, ISO/gain and shutter speed, just like its professional counterparts, and the menu system is the same as the pro andmirrorless cameras. In contrast, the Canon doesn’t have dedicated external buttons
SPECIFICATIONS SONY Z90 Price: £2757/$2798
it can go up to 960fps – although any higher than 240fps and the image quality falls off significantly. But here’s the rub; in 4K there’s no 60p – just regular 25/30p, so no slow motion at all. So, if you want 60p slow-motion in 4K, the Canon is the only choice. But if you want super slow-motion and don’t mind dropping down to HD for it, or you want HDR footage or real Log for more flexibility and dynamic range in post, then the Sony has the upper hand. Only you can knowwhich is most important. The Canonmight not shoot C-Log but does come with a more consumer-friendly Wide DR setting, Sensor size: 13.2x8.8mm1.0- type BSI CMOS, 13.2megapixels Formats: 3840x2160 (UHD) at 24/25/30p, 100/ 60Mbps, 1920x1080 (HD) at 24/25/30/50/60p, 50Mbps Codecs: XAVC QFHD andHD, MPEG-4H.264, AVCHD Maximumframe rates: 30/25fps 4K, up to 100/120/240fps/480/960fps 1080HD in 10-bit 4:2:2 Shutter speed: 1/8-1/10,000th sec Gain: -3-33dB Lens: 9.3-111.6mm, f/2.8-4.5 Stabilisation: Electronic Image Stabilisation Filters: 2/4/6 stopND, Screen: 8.8cm/3.5in LCD touchscreen, 1.56million dots Audio: 2x XLR inputs Output: 3G SDI, HDMI Storage: 2 x SD/ SDHC/ SDXC slots, Memory Stick Pro Connectivity: 2.4GHxWiFI, NFC Dimensions (wxhxd): 121x104x274.5mm/ 4.76x4.09x10.8in (with lens hood, large eyecup) Weight: 1.39kg/3.1lbwith lens hood, eyecup, handle and battery More information www.sony.com
for iris, ISO/gain and shutter speed, as pretty much everything is controlled from the touchscreen. This is where you set shutter speed, gain and iris, and it’s very easy to use and understand. The Sony has the MI multi- interface shoe on the top so you can add any of the Sony’s MI-type accessories, such as the wireless radiomic set. But if you use the top handle, this slots into the MI slot to allow the XLR inputs to communicate with the camera – it’s either use the top handle or the MI shoe, but not both simultaneously. The Canon feels slightly more modern and easy to understand, especially if you are coming from a Canon DSLR or C-series cinema camera, but also for someone relatively new to filmmaking. The Sony feels more professional, but this means slightly more confusing to the casual user. Both cameras have lots of custom-assignable buttons, too, somore advanced users can set up either to their individual preferences. The auto exposure and white- balance are very good on both cameras – both offer SDI outputs as well as HDMI. So far, so similar. But it’s in the specs and performance of the sensor that both cameras start to differ quite significantly. You can dig through the specs, but here’s the rub: the Canon is 8-bit if you record internally and doesn’t shoot C-log, but does shoot 4K at up to 60p at 150Mbps, so it’s fine for a bit of mega-quality half-speed slow- motion. But for proper slow-motion, even in HD, it’s still only half speed. You can get 10-bit 4:2:2 but this needs to be output over SDI or HDMI to an external recorder. The Sony initially seems to have the upper hand as it shoots 10-bit 4:2:2 internally, S-log2 and Hybrid Log Gamma, so it’s ready for HDR; in terms of fast frame rates in HD
ABOVE AND BELOW If you are used to Sony menus then you’ll get to grips with the Z90 very easily. The screen flips out to reveal twin card slots.
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PRO MOVIEMAKER SPRING 2018
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