Definition April 2019 - Sampler

NAB PREVIEW SPECIAL

WHAT TO SEE AT THE BIG SHOW P12

April 2019

£4.99

BEHIND THE SCENES... with Ben Davis on two of this year’s biggest blockbusters

EXCLUSIVE PREVIEW

SEE PAGE 10

USER REVIEW

MEGA MAVO

Hands-on with the large format Kinefinity

A KIND OF MUSIC MAGIC

Sourcing the soundtrack to Bohemian Rhapsody

The new Creating the anamorphic, midnight-blue world of Curfew ALSO KIT REVIEWS | FILM V DIGITAL PART ONE | THE MAKING OF A LEGEND INSIDE ALL IS TRUE | 5 MINUTES WITH CINEO LIGHTING | NEW CAMERA LISTINGS

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W E LC O M E

BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK

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EDITORIAL Editor Julian Mitchell 01223 492246 julianmitchell@bright-publishing.com Features writer Chelsea Fearnley Contributor Madelyn Most, Phil Rhodes, Adam Garstone Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Sales manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Key accounts Nicki Mills 01223 499457 nickimills@bright-publishing.com DESIGN Design director Andy Jennings Designer Lucy Woolcomb, Man Wai Wong, Emily Lancaster Senior designer & production manager Flo Thomas Ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck SOCIAL MEDIA Facebook @definitionmagazine Twitter @definitionmags Instagram @definitionmags

WELCOME

T

his year’s NAB Show might be the one that brings two traditionally disparate sides of the industry closer than ever: traditional cinematography and VFX. Virtual production has improved the effectiveness of pre-vis and post-vis hugely, and now it’s looking to the professional video capture industry to bring its aesthetic into the virtual playground.

We’ve heard rumours of lens manufacturers improving their data capture options this year, with camera and lighting brands also helping to map their individual looks into game engines, which can then be used to digitally light and shoot.

The huge post-production rendering engines are on the edge of delivering VFX further up the delivery chain. Perhaps the only element missing is the knowledge base and a way for the hardware manufacturers to work together, especially in the optics world.

Cinematographers are eager to learn how virtual production can help them, and pre-vis systems are already a huge help for the crew to visualise CG shots, but don’t underestimate the value of capturing all the data – especially the kind you can’t see.

MEDIA PARTNERS & SUPPORTERS OF

JULIAN MITCHELL EDITOR

Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.

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CURFEW CAPERS

© 2019 SKY TV

Sky’s dystopian series Curfew has a simple premise: win a car race and be saved from a vile virus creeping its way around the world. DOP Suzie Lavelle had one basic style to work with. “Basically, the director’s only reference to me when we met was John Carpenter movies, so we could inhabit this world of fake moonlight, movie moonlight and blue... if we’d have been doing Children of Men it would have been difficult. When we started, Stranger Things season 2 came out and Curfew was a different eighties from that, it was British eighties but with some of the tropes of American eighties.”

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S E T- U P | N A B P R E V I E W 20 1 9

NAB SHOW 2019 O N E S T O WAT C H

The world’s biggest event covering the latest in film is upon us once again.

Here’s our preview of some of the exhibits W O R D S C H E L S E A F E A R N L E Y

BLACKMAGIC blackmagicdesign.com Blackmagic is showcasing its secondgeneration URSA Mini Pro, which now includes a Super 35 4.6K sensor (15 stops of dynamic range) and can shoot at up to 300fps. The new USB-C expansion port also allows for direct recording to external disks.

Blackmagic will also have its Pocket Cinema Camera 4K on the stand, but with a new function: support for Blackmagic Raw. This update – available for free download through the Blackmagic website – provides all the benefits of Raw with the ease of use, speed and files sizes of traditional video formats.

Blackmagic has also announced a new PCIe capture card with four independent HDMI 2.0b input connections and an update to its DeckLink 8K Pro will enable its four 12G-SDI connections to be used independently. Additionally, an update to the Blackmagic Duplicator 4K will add long-form recording.

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ARRI arri.com Celebrating over a century in the film industry, Arri is showing its range of digital cameras, including the long-awaited LF large format camera with the new range of Signature lenses, designed for exclusive use with the new camera.

Arri is also displaying its wireless system, high-end lenses, professional camera accessories and growing stable of lighting, including the latest SkyPanel S360 LED light. Products include the Alexa 65, Alexa SXT, Alexa Mini and Amira cameras, Master Anamorphic lenses and SkyPanel, L-Series and M-Series lights.

X X X X X X X X X | S E T- U P

TERADEK teradek.com At the NAB Show, Teradek is showcasing the latest in zero-delay wireless video systems: the Bolt XT. The XT combines great wireless performance with smart design to give cinematographers incredible flexibility on set.

Real-time 1080p60 video offers pristine image quality, and powerful software features, like a built-in 5GHz spectrum analyser and 3D LUTS, allow professionals to monitor the feed with complete confidence.

The Bolt XT receiver features a newly-integrated NATO rail, while the transmitter includes an Arri Pin-Loc for fast and easy mounting on set. Available battery plates include Gold or V-mount for the Bolt 1000/3000 XT, as well as Sony L-Series or Canon LP-E6 plates on the Bolt 500 XT. Bolt XT is compatible with all third-generation Bolt 500, 1000 and 3000 models, as well as the 703 Bolt, 10K and Sidekick II units.

BOXX TV boxx.tv Boxx TV is esteemed by the filmmaking industry for making affordable, high-performance wireless video transmitters. Meeting the latest demand of its patrons, it will be demonstrating its new solution for delivering higher-quality content in real time. The solution will facilitate sub-frame 4K wireless video transmission and promises to delivery low latency. It also operates in the licenseexempt spectrum, making it affordable to all.

Boxx TV will also be showcasing its Atom range of HD wireless video solutions, which are now complete with time code and record trigger on all systems. Included in this range is the Atom Transmitter, which now offers an SDI loop and HDMI input. This is ideal for camera operators using Steadicam, portable field monitoring and UAV video links. The Atom solutions can be used to broadcast a signal to an unlimited number of receivers without pairing requirements, meaning it’s also possible to extend the array of the system using specialised antennas.

RED red.com Red cameras are famously modular, but the company’s new rental-only piece eschews this approach with a unitary camera design. The Red Ranger was requested by the Red Authorised Rental House and is one of the first ‘all-inone’ cameras for rental in the high-end cinema camera market.

Designed to be grabbed and ran with, the Red Ranger is fully configured.

It includes integrated I/Os, with three SDI outputs – one of which can be used independently from the other two feeds. Other features include support for a wider input voltage (11.5-32V) and there are two 24V and two 12V power outs.

The camera also supports large power sources and is available in V-Lock or Gold Mount variants. To manage heat and reduce noise on-set, it includes a large diameter fan with a slow rotation.

In addition to 8K Redcode Raw at up to 60 fps Full Format, the Ranger also captures to Apple ProRes or Avid DNxHR. As is to be expected, the new camera also includes Red’s modern, HDR-capable colour management system, IPP2.

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D R A M A | D U M B O /C A P TA I N M A R V E L

Ben Davis is one of the busiest cinematographers around and has two major movies opening this month: Dumbo and Captain Marvel. We ask what it’s like being him I N T E R V I E W M A D E LY N M O S T / PICTURES DISNEY / MARVEL

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D U M B O /C A P TA I N M A R V E L | D R A M A

O

n a windy Saturday afternoon, I drive through the rubble-lined, potholed streets of Longcross Film Studios. A large block of polystyrene bashes my car as I drive up to Stage 2, where Ben Davis BSC is pre-lighting a set for the second unit.

Davis works non-stop, film to film, back-to-back and, this month, two films he photographed – Captain Marvel and Dumbo – are being released almost back-to-back.

It’s not unusual for him to work weekends in order to be ready for the following week, like he is today. Behind a long wooden table stands a monstrous black projector from the 1900s, curated and converted to xenon by Lester Dunton for the director, Matthew Vaughn, with whom Davis has already collaborated on Layer Cake and Stardust. This will blast images on one of the sets from Kingsman: The Great Game, a story about the origins of the Kingsmen set around the start of the first world war.

Davis tells me: “Cinematography is changing, mostly driven by the way people are viewing things. So many people are watching on their televisions or on home projection screens, as well as in a cinema, so the way we are photographing films is changing. The way cinematographers photograph digital films and expose film negative is changing. When I started,

Cinematography is changing, mostly driven by the way people are viewing things

you were encouraged to make a thick, dense negative, but today, some DOPs are underexposing to create a softer image.

These huge digital televisions are very powerful and you don’t get dark projection anymore. Also, tastes have changed; audiences are embracing things that are dark, and the studios, who used to complain about things being too dark, are less likely to object. I always ask myself when photographing something: ‘What are you shooting it for?’”

Davis is shooting Kingsman: The Great Game with Arri 65mm digital cameras for a cinema release. “Every morning, I look at projected rushes, because there is an enormous difference between what you see projected and what you can see on a monitor. There are a whole range of subtleties in projection you don’t see on a monitor, subtleties in shadow and highlights, and nuances in colour,” he adds.

“To me, lenses are the most important factor – the lenses and the lighting dictate the look of the film. Digital cameras are really just computers gathering data.”

DUMBO Tim Burton’s soon-to-be-released version of Dumbo for Walt Disney Studios was “very challenging”, says Davis. “For me, the whole attraction was working with Tim. I’ve been doing this a long time and there is only so far I can go with my instincts and what I want to do with cinematography. I’m looking for directors to collaborate with and to inspire me. The best films tend to be the ones made with one distinct voice: an original voice. Sometimes, if there are a lot of voices involved, you end up with a product that is trying to satisfy many voices, many camps.

“It was really interesting to watch how Tim conducted all these amazing creative people like in an orchestra. He had Colleen Atwood creating incredible costumes, and Rick Heinrichs as the production designer, and a great casting director. He very IMAGES Shooting Captain Marvel and Dumbo were two totally different experiences for cinematographer Ben Davis

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F E AT U R E | M A K I N G O F A L E G E N D

COOKE S4/i

SOME PIECES OF EQUIPMENT REACH A STAGE WHERE THEY ACHIEVE LEGENDARY STATUS. IN THIS NEW SERIES WE START AN EXCLUSIVE CLUB

JUST FOR THEM

P

erhaps the shortest and most apt term in the industry to describe a product is ‘the Cooke look’. We all know what it is and we all aspire to it. For the purpose of this article we have chosen the Cooke S4/i lens family and the Mini S4/i.

The creatives who have used these lenses are always the ones that we should listen to most as their careers can pivot on choosing the right glass.

Greig Fraser ASC, ACS Zero Dark Thirty shot on S4/i lenses (2015)

Sayombhu Mukdeeprom Call Me By Your Name (2018), shot using a single S4/i 35mm lens

“[For Zero Dark Thirty] we decided early on to shoot digitally on the Arri Alexa, which is a great format but I wanted a lens that would take the digital edge off. We needed to find a way to achieve the honesty and reality of the story – it’s not a documentary but we also didn’t want to make it too cinematic so that the audience might lose the reality of events.

“The Cooke S4s excelled at this because they bring that degree of warmth and honesty. The look is paramount but the Cookes also needed to be able to go into battle. They were a great size for what we were doing. There was a lot of handheld work, and they are big enough that they balance well, they are robust and almost bulletproof. Their toughness was really a key issue: if you’re going off to the far ends of the earth, there aren’t going to be many lens technicians if there’s a problem. I’ve never once had an issue with them on set, even when we were hanging out of Black Hawk helicopters.”

“I am quite new to Cooke – when I started working in Thailand 20 years ago, there wasn’t much choice, everything was all about Arriflex, Arri lenses. So later, when the door was opened I wanted to try something else. Cooke was the very first lens I went to – I felt they gave a natural texture, they are clear but gentle.

“My director suggested the idea of shooting on one lens, which was a challenge.

I did some research before I said yes; I went through the script to understand what was happening and I thought it was possible to shoot this way. I thought it might give a special perspective. When we are making art, we don’t know what it’s going to be – you can guess from your experience, but it’s an unknown, and that appealed to me. We compared several 35mm lenses, including the Cooke 5/i 35mm, but we liked the S4/i best. Cooke lenses give more gentle contrast compared to others, they are also superb for skin tones.”

I’ve never had an issue with them, even when hanging out of Black Hawk helicopters 48

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IMAGES Users, clockwise from left: Nick Dance with Poldark; Neil Oseman on The Little Mermaid and the crew of Midsomer Murders

John de Borman, BSC Will (BBC, 2017) “I’ve shot 40 movies – 39 have been shot on Cooke, because I love them. I chose S4/i in this case because the speed of the Arri cameras means that with a bit of lighting you can shoot anywhere. Cooke lenses aren’t soft but they have an organic feel and a warmth to them. Other lenses are incredibly sharp and quite contrasty – I don’t like the lens to give me contrast, I prefer to do it through lighting. I like the quick fall-off of a Cooke lens, and the fullness to come quite quickly after the depth-of-field has gone. It’s worked beautifully on all the films I’ve done.”

Vittorio Storaro, ASC, AIC Café Society (2016) “We paired the Sony F65 with the Cooke S4 Prime lenses to achieve the look of Woody Allen’s film. Our locations became characters in the film but they were also one of the greatest challenges of the production.

“We used Cooke lenses because, to me, Cooke is the ‘one’ because the lenses are built for cinema. Other companies usually use photographic lenses, rehoused for use with cinema cameras. We need serious lenses to record the plastic movement of light on every kind of image,

from maximum brightness to maximum darkness, particularly into the penumbra, as Leonardo [da Vinci] called it.

“I really wanted the style of the film to underline the different sections of the story, each one in a very specific way, while maintaining an overall cinematography style: mine. The monochromatic Bronx in New York, the expressionistic Hollywood of

1935, along with New York’s luminescent Café Society and the Hollywood divismi [film stars] of 1940 – these were the different portions of the film that required a specific look – each one of them. Cooke lenses gave me the chance to extend the cinematic range of luminosity, while maintaining my own style of cinematography throughout the film.”

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M AVO L F | U S E R R E V I E W

MAVO LF P R I C E £ 1 0 , 7 0 0 B O DY O N LY

DOP Ash Connaughton bought a Kinefinity Mavo LF camera kit to stand out and entice producers with the large format aesthetic W O R D S A S H C O N N AU G H TO N & J U L I A N M I TC H E L L / P I C T U R E S A S H C O N N AU G H TO N & A DA M D U C K W O R T H

ince I’ve had the camera I’ve done a couple of short films and some test footage, but the rest of the time I’ve been in prep for a movie called Hello Darlin’, which I’m shooting on the LF. “One of the shorts was over the course of three days, which was really intense, and the other short was still three days but spread out over a few weeks so not so intense.

I’m shooting an indie feature over the next few weeks, which is a neonoire crime drama.”

The LF is Ash’s first Kinefinity camera, although he has been following the company’s progress over the last few years. “The first cameras that really attracted my attention were in this new line-up, the Terra, the new Mavo and the LF. Also what swayed me was that Pro AV was supporting them, and they

ABOVE Kinefinity’s Mavo LF is the flagship of their cinematic camera range

offer servicing and maintenance for the cameras in the UK so you don’t have to send them back to China.

That was a big worry, especially as I heard that the earlier Kinefinity cameras sometimes had to go through that process.

“But the specs of the camera speak for themselves – they’re incredible, considering the price.

Those specs and the Pro AV involvement got me interested.”

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DEFINITION’S 4K CAMERA LIST

BASED ON:

ARRI ALEXA SXT W

DRAMA The movie All Is True is the story of a retired bard; DOP Zac Nicholson used the ARRI Alexa SXT W to reflect his dotage Zac Nicholson on All Is True: “I try to approach every film with as few preconceptions as possible, particularly when dealing with period drama. The script is the inspiration and the beginning, but the real shape of the film and the inspiration for the method starts with the director’s vision.

“The initial conversation began with a very simple question from Ken [Branagh] – what was it like to live in darkness with the only available light coming from candles? People have been lighting with candles for years and film stocks have evolved a great deal, but modern digital cameras have really started to unlock the creative possibilities of working in very low light.”

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SPECIFICATION SENSOR – FORMAT AND SIZE

Super35 format ARRI ALEV III CMOS sensor with Bayer pattern colour filter array

FRAME RATES

0.75 - 120fps

LENS MOUNT

PL mount, LPL mount

RECORDING OPTIONS

Up to Open Gate ARRIRAW 3.4K: 3424 x 2202

EXPOSURE LATITUDE

14+ stops over the entire sensitivity range from EI 160 to EI 3200 as measured with the ARRI Dynamic Range Test Chart (DRTC-1)

© Sony Pictures

DRAMA KITS

RECOMMENDED KIT The kit recommended to accompany the ARRI Alexa SXT from the experts at CVP OCONNOR 2575D TRIPOD SYSTEM

The CINE HD is the perfect choice for heavy payloads that must be supported in a safe and reliable manner. With its famous features, the 2575 fluid head has become a standard for film production, including OConnor’s patented sinusoidal counterbalance system.

ARRI SIGNATURE PRIMES

I N A S S O C I AT I O N W I T H

The newest members in the ARRI lens family are 16 largeformat ARRI Signature Prime lenses, ranging from 12mm to 280mm, fitted with the ARRI LPL mount. Signature Primes have been designed to render organic, engaging images, softening and texturising the LF with natural skin tones.

TRANSVIDEO STARLITE ARRI-WVS

ESSENTIAL KIT

Discover other parts of the CVP camera kit, including lens mount and wireless options

The Transvideo Starlite ARRIWVS from ARRI is a combination monitor/recorder with a built-in wireless video receiver and is compatible with the ARRI-WVS transmitters.

WCU-4

The ARRI Wireless Compact Unit WCU-4 is a 3-axis wireless hand unit with integrated lens data display. It works with ALEXA Plus and Studio cameras and UMC-4, SMC-1 and EMC-1 motor controllers.

WVR-1 BASIC SET

This is a stand-alone Wireless Video Receiver (WVR-1) receiving from the integrated video transmitter of the ALEXA LF and ALEXA SXT W cameras or the stand-alone Wireless Video Transmitter (WVT-1).

ARRI LPL MOUNT FOR ALEXA

A crucial element of the new ALEXA LF is the LPL lens mount, optimised for LF sensors. A wider diameter and short flange focal depth allows the ARRI Signature Prime lenses to be small and lightweight.

CLM-4 BASIC SET

Flexible and affordable, the ARRI CLM-4 is a compact and lightweight lens motor with four different gear modules. It is faster and quieter than the CLM-2 and is useful in tight situations with limited space.

BUILD YOUR PERFECT KIT AT CVP NEWMAN STREET CVP’s flagship showroom is home to a full spectrum of production equipment ready to see, combine and evaluate. Visitors are supported by creative and technical staff who are committed to finding the right solution for every production need. To arrange a visit to the Newman Street Showroom in London, call 020 8380 7400 or visit cvp.com.

SEE MORE ON THIS MONTH’S KIT:

www.cvp.com/definitionkit

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4 K C A M E R A LI S T I N G S

ARRI ALEXA LF

ARRI ALEXA MINI

ARRI ALEXA SXT W

ARRI ALEXA 65

SPECIFICATION SENSOR – FORMAT AND SIZE

Full-frame CMOS, 36.70x25.54mm – 4448x3096, ø 44.71mm

Super35 CMOS, 28.25x18.17mm – 3840x2160, ø 33.59mm

Super35 CMOS, 28.25x18.17mm – 3840x2160, ø 33.59mm

ARRI A3X CMOS sensor, 54.12x25.58mm, 6560x3100

FRAME RATES

ARRIRAW: 0.75-150fps ProRes: 0.75-100fps

ARRIRAW: 0.75-30fps, ProRes 0.75-200fps

ARRIRAW and ProRes: 0.75-120fps

ARRIRAW: 20-60fps

LENS MOUNT

LPL, PL

LPL, PL, EF, Leitz M, B4 w/Hirose connector

LPL, PL

XPL

RECORDING OPTIONS

4448x3096 ARRIRAW and ProRes 4.5K open gate and 2.39:1, 3840x2160 ARRIRAW and ProRes 16:9

3840x2160 ProRes4K, 3424x2202 ARRIRAW, 2880x2160 ARRIRAW and ProRes,1920x1080 ProRes HD and Anamorphic

3424x2202 ARRIRAW and ProRes, 3414x2198 ProRes, 2880x2160 ARRIRAW and ProRes, 2560x2146 ProRes and Anamorphic

6560x3100, 5120x2880, 4320x3096, 4448x3096 and: 3840x2160 ARRIRAW

EXPOSURE LATITUDE

14+ stops from EI 160-3200

14+ stops from EI 160-3200

14+ stops from EI 160-3200

14+ stops from EI 160-3200

BLACKMAGIC DESIGN URSA MINI PRO G2

CANON EOS C200

CANON EOS C300 MARK II

CANON EOS C700

SPECIFICATION

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SENSOR – FORMAT AND SIZE

Super35 CMOS 25.34x14.25mm, 4608x2592

Super 35mm CMOS, 4096x2160

Super 35mm CMOS, 4096x2160s

Super 35mm CMOS, 4622x2496

FRAME RATES

Blackmagic Raw 4.6K to 120fps, UHD windowed 150fps, HD windowed 300fps, ProRes 4.6K to 80fps, UHD windowed 120fps, HD windowed 240fp.

4K 24/ 25/ 30/ 50p. HD 120fps

4K 30/29.97/25/24/23.98fp, 2K 60/59.94/50/30/29.97/25/24/ 23.98fps

4K Raw 60/59.94/50/30/29.97/ 25/24/23.98fps, up to 120fps with external recorder, 2K cropped to 240fps

LENS MOUNT

EF, PL, B4, F

EF

EF (PL optional upgrade)

EF, (PL and B4 mount adapter options)

RECORDING OPTIONS

4608x2592, 4608x1920 (4.6K 2.40:1), 4096x2304 (4K 16:9), 4096x2160 (4K DCI), 3840x2160 (Ultra HD), 3072x2560 Anamorphic

4096x2160, 3840x2160, 2048x1080, 1920x1080, Cinema Raw Light, XF-AVC, MP4

4096x2160, 3840x2160, 2048x1080, 1920x1080, XF-AVC

4096x2160, 3840x2160, 2048x1080, 1920x1080, Canon Raw, XF-AVC, ProRes

EXPOSURE LATITUDE

15 stops

15 stops

15 stops

15 stops

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I N A S S O C I AT I O N W I T H

ARRI AMIRA

BLACKMAGIC DESIGN URSA BROADCAST

BLACKMAGIC DESIGN MICRO STUDIO

BLACKMAGIC DESIGN POCKET CINEMA 4K

BLACKMAGIC DESIGN URSA

Super35 CMOS, 28.25x18.17mm – 3840x2160, ø 33.59mm

2/3 inch sensor when using 4K B4 mount 13.056x7.344mm

Single CMOS, 13.056mmx7.344mm

Four Thirds CMOS, 18.96x10mm, 4096x2160

25.34x14.25mm – 4.6K 22x11.88mm – 4K

ARRIRAW: 0.75-48fps, ProRes 0.75200fps

23.98, 24, 25, 29.97, 30, 50, 59.94 and 60 fps. Off-speed frame rates up to 60p

HD 1080p23.98, 24, 25, 29.97, 30, 50, 59.94, 60 Ultra HD 2160p23.98, 24, 25, 29.97, 30

4K 23.98, 24, 25, 29.97, 30, 50, 59.94, 60fps, windowed HD 120fps

23.98, 24, 25, 29.97, 30, 50, 59.94 and 60fps supported

LPL, PL, EF, Leitz M, B4 w/Hirose connector

B4 2/3in

Active MFT

Active MFT

N/A

3840x2160, 3200x1800, 2048x1152, 1920x1080 ProRes, 2880x1620 ARRIRAW

3840x2160, 1920x1080, CinemaDNG Raw, ProRes 4444, DNxHQ

3840x2160, 1920x1080, 1280x720,

4096x2160, 3840x2160, 1920x1080, 10-bit ProRes 422 and 12-bit Blackmagic Raw

CinemaDNG Raw 3:1 – 180MB/s CinemaDNG Raw 4:1 – 135MB/s

14+ stops from EI 160-3200

12+ stops

11 stops

13 stop

N/A

CANON EOS C700 FF

JVC GY-HM170/180

JVC GY-HM250E

JVC GY-HM500/550

JVC GY-LS300

Full frame CMOS, 38.1mmx20.1mm, 5952x2532

Single 1/2.3in CMOS sensor, 12.4 megapixels

Single 1/2.3in CMOS sensor, 12.4 megapixels

Single 1in 4K CMOS sensor

AltaSens Super 35mm 13.5-megapixel CMOS

5.9K Raw 60/59.94/50/30/29.97/ 25/24/23.98fps, 2K cropped to 168fps with external recorder,

3840x2160/30p, 120fps HD

3840x2160/30p, 120fps HD

3840x2160/50-60p

4096x2160 Cinema 4K and 2048x1920 Cinema 2K recording modes. 4K 30p, HD to 120fps

Canon EF Mount with Cinema Lock/PL Mount (Cooke/i Technology compatible)

Fixed lens

Fixed lens

Fixed lens

Micro Four Thirds

4096x2160, 3840x2160, 2048x1080, 1920x1080, XF-AVC, ProRes, 5952x3140, 5952x2532, 4096x2160, 3840x2160 2048x1080 Canon Raw to recorder

4:2:2 50Mbps 4K Ultra HD recording HM180 has live streaming and full screen graphic overlay

4:2:2 50Mbps 4K Ultra HD recording live streaming and full screen graphic overlay

4K UHD 50/60p Apple ProRes 422 10-bit

4:2:2 50Mbps HD to 60p 4K Ultra HD recording 150Mbps, 24p/30p

15 stops

N/A

N/A

N/A

N/A

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