Join Rob Garrott for an in-depth discussion in this video Cameras and lenses, part of NAB 2015: Navigating the Landscape of Video Production and Post.
(techno music) - Documentary and Corporate film making presents unique challenges for shooting video. The NAB show is a fantastic place to learn about what makes a great camera for shooting both interviews, and run and gun style b-roll, on location or in a controlled environment. It's also the right place to learn about 4K production and discover if a 4K camera is a good choice for your production needs. 4K is the talk of the show. But there really isn't any place to watch 4K content yet.
So why should you even consider that much resolution in the first place? - Just like when we transition from standard def to high def, a lot of projects could have been done in high def, but they weren't, and then later people where like "ugh" we really should have done it in HD when we had the chance, and could have finished an SD for then and an HD later. Also, we can shoot HD with these 4K cameras and you get really stunning HD because you're using 4K sensor. So, you get kind of the best of both worlds. A lot of our equipment we are using 12 Gig SDI. And the reason why we are doing that is that way in Ultra HD and 4K you can do it the 60 frames per second.
So here you are buying product at basically the same price as HD product that will do future 4K. 12 Gig SDI can really carry a lot of data and that's why we chose that format. - Both the 300 Mark II and this new XC10 are using CFast as their current recording medium. So that allows them to capture the high bit rate. So this is very sophisticated technology in terms of internal recording. - Shooting in 4K right now is a forward looking decision. And the good news is that most camera companies offer you choices for shooting at that resolution.
What's changed this year is that the body formats are becoming more video and user friendly. - When I travel the country and I get feedback from the rental houses, number one, and this is universal, you have the most reliable camera on our shelf. When we rent a C300 we know it's going to work and we know it's going to come back working. And that's great to hear. But in the same breath they'll say you know the handles a little wonky and maybe you can do a little bit here or there. And that's exactly what we've done. We've fixed that problem.
The other issue is the fact that the cables for the AV monitor used to be hardwired into the assembly. That's been changed, so on the new camera interchangeable hirose cables either way. (techno music) - One feature of the blackmagic URSA is something we'd like to see more of in the industry. Modularity. Historically, cameras have been fixed in closed systems with no upgradability after the purchase. Newer and more sensitive chips with faster processors are developed each year.
What if you need a different lens mount to get just the right look for a client? When you spend thousands of dollars on a new camera system, there are no guarantees that your gear will adapt to future production trends. - When you make such a high investment, especially in our product range, it's at the top of our camera range, you're able to actually upgrade it. So, last year we said we would have an upgrade, and this year we do have an upgrade. For $2,000 or $2,500, depending on your amount, you can upgrade last years to a new 4.6 case sensor. - Should you move to a 4K camera? 4K is the biggest industry trend this year.
But just because something is a trend, doesn't mean that it's going to be right for every project. Regardless of what decision you make, the only guarantee is that camera technology will continue to change and grow. Evaluating your clients needs and adjusting your work flow to match should always be the driving force for adopting new technologies.