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Posted
GoPro's Mission lineup aims to pack cinema camera specs into a pocket-sized action camera. Today, we're testing out the GoPro MISSION 1 PRO, and what better way than with the rides at Coney Island?
0:00 - Test Footage
0:26 - GoPro Mission 1 Pro Specs
0:55 - Sensor (Low Light, Open Gate, Frame Rates)
1:58 - LCD Screen, Battery Life, Buttons
3:04 - Internal Mics & Test
3:39 - New GoPro Wireless Mic & Test
4:11 - Photography Specs
4:23 - Patrick's Thoughts
Sponsored by
by Mary Latvis · Posted
Continuing to expand its line of popular high-performance video cameras, Kinefinity has introduced the new Vista Full-Frame 6K Digital Cinema Camera. Positioned as a more affordable option for creators, this compact camera features full-frame 6K capture at rates up to 50 FPS and up to UHD 4K at 100 fps in Super 35. Available with user-interchangeable Kinemount,
by Mary Latvis · Posted
Optimal imaging for virtual production (VP) requires certain camera functions that are not integral to all video cameras. A global shutter (or fast readout speeds), genlock capability, and timecode input are key factors to look for when selecting a camera for your VP video capture. Let’s review these specifications and highlight several cameras that incorporate these key specs.
Global Shutter Sensor
Most video cameras are designed with a “rolling” shutter that successively scans each row of photosites (the physical embodiments of pixels) on
by Zack Young · Posted
Thypoch has unveiled the new Simera-C 16mm T1.9 full-frame cine lens, available in E- and M-mounts, along with a Simera-C six-lens kit and custom foam inserts. The 16mm is now the widest focal length in the series, with a 106° field of view. At T1.9, it’s a tad slower than the T1.5 maximum aperture seen in the rest of the line, but still quite impressive for so wide a focal length. The 6-lens kit, also available in E- and M-mounts, contains the 16mm, 21mm, 28mm, 35mm, 50mm, and
Posted
People have been sleeping on the RED DIGITAL CINEMA V-RAPTOR XE. It's more than just a full-frame version of the KOMODO-X. Nick shares where this cine camera sits in RED's lineup and gets hands-on in for outdoor and indoor locations.
0:00 - Sizzle Reel
0:30 - Intro
1:53 - V-Raptor XE Specs
4:08 - Autofocus
5:03 - Dynamic Range & Low Light Performance
6:16 - Concurrent Pro-Res Proxy Recording
6:58 - Ergonomics
7:48 - File Sizes
9:10 - 2.2.1beta Firmware Updates
9:38 - Upgrade Program
10:04 - Takeaways
Sponsored by
by Zack Young · Posted
Canon has unveiled three unique products for the professional broadcast space, including a CINE-SERVO 40-1200mm T5.0-10.8 lens with a built-in 1.5x extender, the compact and powerful RC-1P300 PTZ controller, and the long range ultra-high-sensitivity MS-510 multipurpose camera.
The CINE-SERVO 40-1200mm T5.0-10.8 will be
by Zack Young · Posted
GoPro is taking a bold leap forward with their new MISSION 1 line of compact cameras. Billed as the world’s smallest, lightest, most rugged cinema cameras, initial offerings include the MISSION 1 PRO, capable of 8K60p and 4K240p, the MISSION 1, which supports 8K30p and 4K120p, and the MISSION 1 PRO ILS, which swaps the fixed lens for a Micro Four Thirds (MFT) lens mount. All three
Posted
Now that the hype surrounding Nikon’s acquisition of RED and the launch of the ZR cinema camera has settled, we’re finally putting it to the test on set. Nick combed through FAQs gathered from our YouTube comments, our website, and Reddit, and he’ll be tackling them all in this video. You'll also get his honest opinion on the best features and the quirks. This hands-on experience is truly a deep dive (especially since Nick read all 120 pages of the user guide).
0:00 - Today's Video
0:53 - Key ZR Specs
1:42 - Nick's Initial Thoughts &
by Zack Young · Posted
Sigma expands their novel autofocus cine lens line with the new 28-105mm AF Cine T3 full frame zoom lens, available in E-mount or L-mount with markings in feet or meters. Based on the optical formula of the popular DG DN
by Zack Young · Posted
Tilta continues to push the possibilities of camera accessories with the new Nucleus Autofocus Adapter, a Sony E to ARRI PL-mount adapter that turns manual PL cine lenses into autofocus-capable E-mount glass that interfaces with the full focus system inside Sony cameras. That means face tracking and eye-detect Sony autofocus can now work with countless manual PL lenses for the first time. Alongside the adapter, Tilta unveiled new cages for recent Sony Alpha cameras
by Mary Latvis · Posted
Melding the higher frame rates, powerful hardware, and highly efficient ARRICORE codec of the ALEXA 35 XTREME with the modular form of the ALEXA 35 Live camera, the new ALEXA 35 Live (XR) Multicam System provides a complete toolset for your fiber-based live productions. This system is available in Entry,
by Zack Young · Posted
Zeiss is paying tribute to some of their most popular legacy offerings with the new Aatma Prime T1.5 cine lenses. The nine focal lengths in the set draw inspiration from classic Planar, Distagon, and Sonnar photo lenses, balancing technical precision and character-rich rendering. Large format coverage and Zeiss eXtended Data compatibility means the Aatma lenses can also keep up with the demands of modern productions.
Posted
An instant camera that also shoots video? With inspired effects from the 1930s to the 2020s, this one’s an easy add to cart. Get our team’s first impressions of the FUJIFILM instax mini Evo Cinema Hybrid Instant Camera.
0:00 - First Impressions
1:32 - Decade-Inspired Effects
3:28 - Microphone & Printing
5:22 - Adjusting the Decade Effects
Sponsored by
by Mary Latvis · Posted
Widely used on both classic feature films and newer digital productions, Cooke’s Panchro line features a unique look designed to draw your viewer into your story. The new ARRI LPL-mount Cooke Panchro 65/i series offers this distinctive aesthetic for large-format cameras with up to VistaVision sensors.
by Steven Gladstone · Posted
Whether you’re a student or a seasoned veteran, selecting the right camera can make your head spin with questions. Does sensor size matter? What’s the difference between 4:2:0 and 4:2:2? Do I really need a camera that can record 8K? What about raw? We’ll explain the key components that help a camera produce cinematic images, and in doing so, hopefully help you make that all-important decision.
Evaluate Your Needs and Your Budget
Before considering certain cameras, you must know your needs and your budget. And be realistic. If you are a student