A cine Camera with IBIS, a medium format stills camera with internal ProRes, external RAW recordings, face-detecting autofocus coming to a cine brand, and more. By now, the “hybridization” of the photo-cine market isn’t news, but in the last few months, there have been some significant milestones on this long road toward full convergence in hybrid cameras (Spoiler alert – it’ll probably never come, and I’ll explain why). When I started with videography back at the end of the last millennia, it was all quite straightforward. If it was a compact and mostly “horizontal” design, it was certainly a stills camera. If the design was bulky and elongated, the camera shot video. I started young and energized, so I haven’t complained too much about hauling those sVHS beasts around, but as time went by, I found myself leaning toward photography. But now it’s all very confusing. The concept of a “Stills camera” and a “Video camera” aren’t as firmly defined anymore. Not a history lesson This article will not go through the short and intense history of hybridizing stills-motion-capturing devices. I will mention some notable landmark cameras, such as the RED ONE, among the first 4K capable cameras. No discussion about hybrid cameras can omit the one that started it all – the Canon EOS 5D Mark II, the second in the series, the mother of HD-DSLR, and the breaker of chains. I find it somewhat ironic that a camera so groundbreaking was still designed like a 35mm film camera,...
Published By: CineD - Wednesday, 15 November, 2023