IndieV

Here comes a sad day that a company that once prided themselves on being the cool rebel hipsters of the video camera industry have now put their white-collar, patent trolling hats on and are suing Sony for their f5, f55 and f65 cameras.

Red seems to be either very desperate for cash due to lacklustre sales, or just plain greedy. Their patents against Sony seem to be about them “inventing” a 2k or more video camera that shoots raw at 23 frames per second and up. They want Sony to pay up big on royalties and “lost income” due to their perceived patent violation.

If that’s the case, Blackmagic and those digital Bolex dudes and any other hopeful camera innovator out there better watch their backs because Jim Jannard will probably have you in his sights next and it’s either pay up or get shut down.

The sad thing is this will do irreparable damage to Red’s reputation. They can’t just get away with this like Apple can since they make specialist equipment for a very small percentage of the population. If Red loses the case, I feel this will be a good excuse for Jannard to call it quits since running a cinema camera manufacturing plant on home soil, paying their workers a full western income with all the benefits can’t be cheap. If sales are down then cash must be pouring down the drain at a ridiculous rate. The constant set-backs on the Dragon release can’t be helping since I feel a lot of potential Red customers are probably waiting for it to be released before pulling the trigger.

If Red does go away then what will happen to the industry? My opinion is it will continue on like nothing ever happened. Sure Red pushed 4k years ago and were the first to offer a semi-affordable 4k camera but in a year or two, 4k televisions will start becoming widespread and so will the release of 4k camcorders. In 2 years, I have no doubt we’ll be recording 4k from our phones. Red’s time as the new rebel kid on the block has come and gone and if this is how they choose to go out, then so be it.

For the benefit of technological progress, I hope Sony comes through and wins this.

Source

Those ingenious dudes from turkish camera rig company Edelkrone are at it again. This time, they’ve come up with a new slider design that packs 2 foot of travel into a 1 foot slider.

I’m seriously thinking about buying one to replace my 80cm long Glidetrack but there doesn’t seem to be any reviews out there yet. The Glidetrack is far from ideal as it takes me about 3-4 goes before I get a smooth, non-sticky shot. I don’t know whether the Edelkrone is going to provide smooth consistant sliding shots so I’m going to wait it out.

Sony have announced what many are regarding as “The Red Epic Killer” in the F55.

The long feature set for this camera is as follows:

• Super 35mm equivalent 4K single-chip CMOS sensor with global shutter
• The PMW-F55’s Sony 4K image sensor incorporates a revolutionary electronic global shutter to eliminate rolling shutter distortions. With 11.6 megapixels (total) and 8.9 megapixels (effective), the Sony 4K CMOS sensor captures a true 4K 4096 x 2160 DCI-standard cinema image.
• 16-bit RAW 2K/4K recording options with bolt-on AXS-R5 recorder
• Capture RAW at your choice of resolutions: the camera’s native 4K or beautiful, derived 2K. RAW recording preserves the greatest latitude for colour correction and other post processes. Sony’s 16-bit recording captures more tonal values than the human eye can differentiate. Sony RAW retains 16 times as many Red, Green and Blue gradations as 12-bit RAW and 64 times as many tones per channel as 10-bit recording. Sony 16-bit linear RAW is also the ideal point of entry into the 16-bit linear Academy Color Encoding System (ACES) workflow.
• AXS-R5 records onto ASXM™ memory cards
  The bolt-on AXS-R5 recorder records onto sleek, high-capacity AXSM™ memory cards, which are compatible with an affordable optional USB 3.0 reader, the AXS-CR1. Once on a PC, the RAW files can be screened using Sony’s free RAW Viewer software. AXSM memory provides a super fast, affordable format for sensational quality recordings.
  Choice of HD/2K/4K internal recording formats
• The F55 CineAlta camera allows you a choice of internal recording formats in addition to 16-bit RAW 2K/4K recording output onto the AXS-R5. The camera incorporates high-speed SxS PRO+ memory card recording that allows the choice of: 8-bit MPEG-2 HD422, 50Mbps; 10-bit XAVC 2K*/HD 100Mbps; SR Codec 10-bit MPEG4 SStP 220, 440 and 880Mbps*; and XAVC 4K/QFHD* 300Mbps. All formats can be recorded at a range of interlace and progressive frame rates (see camera specifications for precise details).
  *Expected as a future upgrade.
• High speed shooting up to 60 fps 4K and180 fps 2K internally and 240 fps 2KRAW with optional AXS-R5 recorder
  The F55 features high-data-rate on-board XAVC HDrecordings up to 60 fps, plus a free planned upgrade to XAVC 4K, QFHD and 2Kup to 60 fps and XAVC 2K/HD up to180 fps. It also offers 240 fps 2K RAW with the optional AXS-R5 outboard recorder and a planned upgrade, achieving the highest frame rates most productions will need, while retaining exceptional, 16-bit image quality.
• Next generation high-speed SxS PRO+ memory card
  The F55 records internally onto SxS memory. High-speed shooting and the highest quality recording options require next-generation SxS recording media – Sony’s 64 GB* SxS PRO+ memory card – which can be read by the next-generation USB card reader, the SBAC-US20.
• Simultaneous RAW and onboard camera SxS recording
  Sony provides a coordinated “off-line, on-line” workflow with simultaneous recording to internal SxS cards and the optional AXS-R5 RAW recorder. For seamless conforming in post, you get matching time code, start frame, stop frame, file names and other metadata. The camera supports the following RAW + Onboard combinations: RAW 4K/2K + XAVC 2K*/HD, RAW 4K/2K + MPEG-2 HD422 and RAW 2K + XAVC QFHD*/4K.
  * Expected as a future upgrade.
• Real world workflows
  Sony understands a fundamental truth: working cameras require practical workflows. That’s why the F5 is part of a larger production platform that includes affordable media cards, affordable card readers, free RAW Viewer software and compatibility with popular NLEs and finishing tools.
• Vast exposure latitude to 14 f-stops
  The ability to render tones from deepest shadows to brightest highlights is a crucial test of any digital camera. The F55 excels, with an impressive 14 stops of exposure latitude, extraordinary low-light sensitivity and extremely low noise in the blacks.
• True colour technology
  Sony believes that your camera should not limit your colour palette. That is why the F55 incorporates the same advanced colour filter array technology as used in Sony’s flagship F65, which is equipped with the industry’s only 8K sensor. You get a colour gamut that’s not only wider than other digital cameras.It is even wider than motion picture print film.
• Choice of viewfinders includes amazing OLED technology
  A digital interface on the F55 allows for a variety of optional viewfinders, including the DVF-EL100. This 0.7-inch* viewfinder has the incredible clarity of 1280 x 720 High Definition, plus superb OLED brightness, contrast and response. The DVF-L350 3.5-inch* LCD viewfinder has higher resolution (960 x 540) than previous Sony viewfinders, plus ten times the contrast. And the eyepiece flips up for direct monitoring. The DVF-L700 compact 7-inch* LCD viewfinder enables high resolution when shooting in 2K and 4K, not to mention pixel-for-pixel 1920 x 1080 representation of your HD images.
  *Viewable area, measured diagonally.
• Optional shoulder rig
  The optional Sony shoulder rig provides comfortable handheld operation, hour after hour. The rig is sturdy, lightweight and features industry-standard rosettes on both sides for quick and easy attachment of third-party hand grips and other accessories.
• Small lightweight design for added versatility in 3D
  The small size of the F55 is particularly welcome in stereoscopic 3D shooting. The chassis is only slightly wider than a typical PL mount prime lens, perfect for both mirror rigs and side-by-side configurations.
  Incredible flexibility with the choice of PL-mount, FZ-mount and still lenses
• The F55 is designed to accommodate PL-mount, FZ-mount and still lenses. With the PL-mount adaptor, you can take advantage of acclaimed cine optics from Angénieux®, Canon®, Carl Zeiss®, Cooke®, FUJIFILM®, Leica® and more. Slip off the supplied PL-mount adaptor to reveal the native FZ mount with 18 mm flange focal distance. It’s perfect for accepting commercially available adaptors for still lenses, including Canon® EF, Canon FD, Nikon® DX, Nikon G, Leica® M and even 2/3-inch broadcast B4 lenses. There’s also Sony’s game-changing FZ-mount auto focus servo zoom: the SCL-Z18X140.
• A new generation of Sony PL-mount lenses
  The F55 works with Sony’s second generation, cost-effective PL mount prime lenses. Thanks to refined glass, all are certified for 4K capture, while minimizing geometric distortion, vignetting and breathing. A 9-blade iris delivers beautiful bokehs. The focus rings rotate 240°. The series includes focal lengths of 20, 25, 35, 50, 85 and 135 mm. For easy lens changes, all have the same T2.0 aperture, the same external diameter, matte box diameter, and gear locations for follow focus and aperture. All are the same size except for the 135 mm.
• Intuitive one-touch interface
  Carefully designed with significant input from cinematographers, the F55 provides an incredibly rich range of controls. And the interface is nicely intuitive. Instead of diving through menus, you get direct, one-touch access to key shooting parameters including frame rate, shutter speed, colour temperature, ISO sensitivity and gamma. Assignable buttons mean that favourite adjustments are always at your fingertips.
• Real-time 4K output and other vital connections
  The camera offers powerful connections, including real-time 4K output to a compatible monitor. It is made possible by four 3G-SDI outputs. There is also HDMI®, USB, DC in connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analogue signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected firmware upgrade.
• Long-life Olivine battery and quick charger
  The F55 takes advantage of Sony’s innovative BP-FL75 battery pack, which uses Olivine – Lithium Iron Phosphate – instead of conventional Lithium Ion cathodes. The result is a substantial increase in charge-discharge cycles, compared to previous Sony batteries. The Olivine battery works with Sony’s BC-L90 quick charger. The camera is also compatible with Sony’s BP-GL95A, GL65A, L80S and L60S batteries, which use the BC-L70 and L160 chargers.

There’s a number of advantages this camera has over Red’s offering:
First off it records 2k from the whole sensor. Nobody needs to shoot 4k all the time. It’s normally just a huge waste of space and rendering time. Red only offers 2k in a cropped windowed mode or with the additional purchase of a Meizler module which isn’t going to be cheap.
Not only does the camera shoot true raw with an add-on, it also shoots in a new h.264 format XAVC in s-log which is probably more than most people would need for grading purposes and would closely compare with Red’s version of raw.
The major problem with Red is the media, Red SSDs. They are way too expensive and way too overpriced for what you get. Sony’s answer is SxS pro cards which I’m guessing will be a fraction of the cost of similar capacity Red media.
Global shutter is huge advantage. No more worrying about photography flashes causing half bright frames and skew and jello shots.
The F55 comes with Sony’s FZ mount which can be adapted to almost every kind of lens out there including PL which comes standard.

That plus a whole host of other features has got Red sweating so much that they will be slashing the price of their Epics come November 1st. They say it’s because of more efficient manufacturing techniques but we all know better than that. What’s funny is that Red seems have been timing their price cut until after the announcement of the F55. Most are speculating that Red will be determining the amount to slash off their Epics based on the release price of the F55 but Sony have delayed the release of the price of the F55 to probably after November the 1st which puts Red in an awkward situation. Now they must know how Canon feels.

Interesting times ahead. May the Great Camera Wars begin!

Here’s a link to the a video introducing the F55 which seems to have overtaken the Epic as the dream camera.