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Professional cameras coming at NAB 2012
  • Here we'll have some speculations and some actual early data.

    You can be absolutely sure that in $4000-6000 range we will see new cameras.

    Jem is also talking today just about it
    http://www.thec47.com/gearbox/wait.html

  • 33 Replies sorted by
  • I wonder if the cinemartin recorders will be shown off.

  • JVC 4K is supposed to be on the floor. Let the floodgates open.

  • The most obvious speculations are:

    1. A P2 AVCIntra version of the AF100 with a possible Super 35mm chip and m4/3 cropping, with backwards lens compatibility.

    2. ProRes on the Hyperdeck Shuttle 2.

  • @Brian202020

    P2 AVCIntra version of the AF100 with a possible Super 35mm chip and m4/3 cropping

    Forget about P2. While professional division want you to believe in it, it is old costly tech that will be replaced by 1.8" or 2.5" SSD. Same thing about Super 35mm chip. No one will be making special chip for AF200.

  • How about P3 then? It'll be a smaller, cheaper, faster, professional, standardized, and a controllable medium that would be guaranteed to work with all new Panasonic P3 cameras (and anyone that licenses it), and it would be backward compatible with P2 products via an adapter.

  • @Brian202020

    Forget about this shit.
    These days are up, you can't longer sell such storage.

  • An AF200 with a S-Log mode or just more Dymamic range in general would be nice

  • Yea, I don't understand people's fascination with "professional" storage mediums anymore. Just seems like stupid bragging rights and more "gear-ism" crap.

  • +1 @plasmasmp ,that for me is the most important feature that we are missing with the lower priced cameras

  • Panasonic will not go with the Super35 route... they've invested in 4/3 lenses too much to just move to different sensor size... they would need new lenses, etc... so IMHO its not gonna happen

  • @bwhitz: I agree, but is it really bragging rights and gearism that is driving this? It seems more likely to me that the manufacturers would want to create these proprietary storage media as yet another means of charging a huge premium to professionals. It wouldn't surprise me to see Panasonic or others try to milk this market-division cow a little longer...

  • @Alfi666

    If it crops to m4/3 it would still be backwards compatible with the m4/3 lenses.

  • As for the P2/P3 discussion, yes of course it's a way for companies to make extra money. At the same time to a standardized media that is guaranteed to work can be a plus for the professional market especially as the bitrates climb up. Maybe they'll go 1.8" SSD's like Convergent Design uses in there Gemini. I predict Panasonic and Sony will still milk that cow for one more year.

  • @Brian202020 : yes, that's true... but they would be forced to make new lenses for the S35 system - because without lenses it doesn't make sense - and I guess they won't tell you to buy Sony or Canon :))

  • I had a dream last night and I have another idea of a device that will hopefully be at NAB, and if not, it should be.

    I think a Beachtek or Juicedlink type device that also has HDMI/SDI/Timecode in and both HDMI and SDI out. This device would be an amazing companion to DSLR's with a clean HDMI signal. It'd be pretty cool to get an HDMI video signal with 24bit 96khz audio and timecode embedded in either a HDMI or SDI out. It would make DSLR's with clean HDMI be excepted by the diehard professionals that need/want such options.

  • @Brian202020 Cool idea. I see one logistical issue that would need to be addressed. HDMI output etc. means the device would need to accept input from the camera, but 24 /96 audio means it would need to ignore the audio side (even though the audio is typically embedded in the HDMI out at this point.)

    Otherwise the device would (usually) have to be samplerate limited to the original signal since digital-to-digital upsampling is rarely well executed in real-time (and as a result, rarely offered in hardware or done at a premium).

    On the other hand, a device that could strip the audio from the HDMI or HD-SDI input, add timecode and connect to another device (via analog or digital) for audio input to mix into the output synced, could be helpful. There may already be devices for this (I am trying to remember whether the one MOTU discussed at NAMM could or not) but my guess is that they would be rather expensive.

    Either way, could be a good development if it happened.

  • @KeithLommel "It seems more likely to me that the manufacturers would want to create these proprietary storage media as yet another means of charging a huge premium to professionals."

    Yea, definitely allot of this. It's a symbiotic relationship the manufacturer and the "gear elitists" have. The "professionals" like to own gear that other people can't buy, and the companies like to charge exorbitant amounts for "pro" gear. Win win for both of them.

    "It would make DSLR's with clean HDMI be excepted by the diehard professionals that need/want such options."

    I don't think allot of these guys will ever accept them. They simply don't like the fact that they are "small" and are available to allot of people. They'd never admit it though... they just keep bringing up stupid points like "the AF-100 will always be superior to the GH2 (no matter how good the hack) because of ergonomics"...... WTF!? Just admit you like "big cameras" and be done with it.

    These guys could find a way to justify the use of a 720p Varicam over a 4k GH3 with 120fps. They'd probably make up some stupid derogatory buzz-word like "feather-cam" and say they're too light for "real productions". Then if you tell them just to add weight with a rig, they'd say "but that's not professional". :P

  • @bwhitz I agree with most of what you are saying with exception of your AF100 comment. I had an AF100 and a GH2. I got a lot better images from my AF100 and to me it will always be a better camera than the GH2. It has nothing to do with being a professional camera. I did sell the AF100 tho because I decided selling it before NAB was a good thing.

  • Sorry, but I have a very different experience. I used AF101 and hacked GH2, and the AF101 can just pull close if you underexpose it and use a Ninja, but it never overtook the GH2 from the moment we started using Chris' Rocket settings.

  • @Brian202020: Wow. That was a good move to sell before NAB. Well....with all the rumors going around, why not expect a 4K GH3?! :) I'm looking forward to next week's announcements.

  • @thepalalias I think you are right, the embedded audio would more than likely need to be striped. The Sound Devices external recorders might do this, but I'm not sure. Another thing a device like this could do would be to remove pulldown if needed.

  • I'm in the market for a camera now, which if how I came across this site. At this stage I'm pretty committed to a GH2 as I've ordered a few accessories, but I'm waiting until post NAB to order it in case there's a price drop (GH3 is announced). It's possible something may come along at NAB to change my mind, but given my funds I can't realistically expect anything to exceed the GH2 performance to price value. Still you never know :)

  • Nobody is talking about that kine 8 camera .... when is that coming out?

    http://www.personal-view.com/talks/discussion/2644/kineraw-s8p-super-8mm-hd-sensor-2k-raw/p1

  • My quote from March 13th: "How about P3 then? It'll be a smaller, cheaper, faster, professional, standardized, and a controllable medium that would be guaranteed to work with all new Panasonic P3 cameras (and anyone that licenses it), and it would be backward compatible with P2 products via an adapter."

    Told ya so.

  • @Brian202020

    All I see for now are SD cards with sticker on them. And I suppose, very high prices.

    Anyone remember Olympus cards that had been required to shoot panoramas? Camera checked for them, and disabled function if 3rd party card had been used.

    Same here. They'll disable bitrates with 3rd party SD cards. So, it is not news about progress, it is more news about regress.

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