TRENDS 2022 THEHOT LIST
4. NEWMEDIA REVOLUTION
There was a time when the choice of memory media was CF for pro DSLR cameras, SD for everything else, or hideously expensive proprietary media – like Redmag cards or Sony SXS – if you had to use a cinema camera or large camcorder. But with faster processing and more data than ever, the CF and standard SD cards are not good enough. Even when SDHC (for high capacity) came along in 2006, or SDXC (extra capacity) in 2011, these were soon outdated. Now, there’s SDUC for ultra capacity. Like SDXC, they have a UHS-II interface which allows speeds of up to 985MB/s transfer. Look out for Class 10 or V90-rated cards when recording in 4K or high frame rates. Thankfully, there are now other choices. One is the CFast. It replaced the original CF cards and uses a different PCI Express interface for transfers of up to 550MB/s. Then came XQD cards, used largely in Nikon and Sony cinema cameras, like the FS7, as well as the Panasonic S1H. Common transfer rates are 985MB/s. The latest cards are CFexpress, which are being touted as the successor to CFast and XQD. These come in three different physical sizes. Type A is the smallest and fits in some Sony cameras, with a data rate of up to 1GB/s. Type B is rated at 2GB/s and has the same dimensions and connections as XQD. It actually works in many XQD cameras. Type C is much larger and can reach 4GB/s, but no cameras use this type yet. One option is to record directly from the camera to a small SSD, which can be instantly read on your computer. Few cameras allow this currently, but the new Panasonic GH6 will, via a firmware upgrade.
5. AUDIO GETS TRULY AWESOME
SMART DEVICES Using the latest digital audio on compatible Sony mirrorless cameras has huge advantages
There have even been advances in camera-top mics. Developments include dual-channel recording with a standard track and a safety track at a lower dB, to avoid peaking if there is any sudden increase in audio. Some cameras have upped their audio recording game. For example, the Panasonic GH6 can record four-channel 48kHz or 96kHz 24-bit when an XLR microphone adapter is attached, or in two channels using a plug-in mic. One of the biggest advances is in recorders that can employ 32-bit float technology, capturing massive audio levels in a single recording. You could record everything from an almost-silent whisper to a Formula 1 car, without changing the gain – and still be able to use the audio without clipping, just by adjusting the levels in post. It’s like super-high dynamic range for sound. It sounds too good to be true, but compared to a 24-bit WAV file, a 32-bit float WAV has 770dB more headroom, and roughly the same below it. That’s a usable range of 1500dB, which is insane! Recorders that use 32- bit float include the Zoom F6 or F3 and MixPre-3 II from Sound Devices .
All filmmakers know just how crucial it is to get super sound, but few can afford a dedicated recordist. Luckily, there has been a boom in audio technology to make it easier than ever. If you are still just plugging in a basic camera-top mic via a conventional 3.5mm jack, you are missing out on a lot. The world has gone digital, and that includes audio. Digital audio that connects to the camera via a multi-pin hotshoe – instead of a plug-in cable – was pioneered by Sony, but is now on other cameras, including Canon. They can recognise an audio source is there, and the signal is directly transferred to the camera in digital form– so there is no loss of quality due to the analogue interface. You can also alter how directional the mic is, and usually connect more than one wireless transmitter to enable two-person interviews – always a big issue for filmmakers. Even if you don’t go for a dedicated digital system, there are far more options for dual-input wireless than ever before. Rode, Saramonic, DJI, Hollyland, Joby, Sony, Deity and others offer kits, and many are linked to apps so they can actually record internally, too.
EXPRESS DELIVERY The latest memory cards, like this 512GB Angelbird CFexpress Type B, give fast transfer rates and huge capacities
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PRO MOVIEMAKER
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