4k cinema camera suggestions

wandering journalist wrote on 4/3/2016, 10:56 AM

Hi all - I have the opportunity to apply for a small business/tech grant (matching funds up to $25,000) and I am looking to make the move to a 4K camera. Does anybody have thoughts? Are there things I should look for in the way of interchangeable lenses - say super 35. Or file formats and workflow I should be aware of when working within Vegas Pro? I am aware that I will need to upgrade from my current Vegas Pro 11!?! I make documentaries - history and sports history that are often aired on PBS affiliates and distributed across platforms such as DVD, VOD and digital. But, increasingly I have been getting nudged, maybe pushed along for theatrical release and have 4k ready product as well... Look forward to your advice and suggestions.

Dale.

Comments

Wolfgang S. wrote on 4/3/2016, 11:28 AM

Interchangeable Lens?

35mm?

You work with SCS-Software like Vegas (and maybe in future the Catalyst Familie)?

I would recommend you the Sony FS7.

videoITguy wrote on 4/3/2016, 12:40 PM

First of all for the 4k wanderer - investigate further in depth - what, where, and how would you actually be able to use 4k?
Generally the only 4k work origination currently done ends up in an HD distribution system. Unless you have an assured market for this, it makes little sense to do that- just throwing dollars to the wind.

DGates wrote on 4/3/2016, 4:19 PM

vITg, I wouldn't say it makes little sense. It's generally acknowledged that the highest resolution you can get in acquisition, the better your final product will look, no matter if it's HD or DVD.

GeeBax wrote on 4/3/2016, 4:55 PM

Another vote for the Sony FS7.

John_Cline wrote on 4/3/2016, 5:12 PM

Agreed that 4k acquisition looks better regardless of distribution format. Also, if the project has any sort of longevity (not just a disposable car commercial), it makes all the sense in the world to acquire it in the highest resolution possible. Just because most people TODAY are only going to view it in HD, doesn't mean that 4k won't be the norm in the near future. If theatrical release is a possibility, then 4k is a must.

Like I've said here many times before, I was shooting HD when I was still distributing on DVD, once HD became mainstream, the clients came back for HD versions of their projects, which was an additional revenue stream for me. It doesn't make any sense NOT to shoot 4k NOW.

Wolfgang S. wrote on 4/3/2016, 5:20 PM

Agree with that UHD makes sense today. The FS7 is here a great tool for the future. Another choice could be the Ursa mini - what would give the advantage of raw (what one has with the FS7 with additional hardware only), but with the big disadvantage to loose the great XAVC codec.

videoITguy wrote on 4/3/2016, 9:41 PM

Make no mistake, I like the Sony FS-7 as well as some other high-end 4k origination.

BUT from a business perspective, you DO have to make the case. Very decent Blu-ray product can be delivered from HD cameras and quality controlled workflows.

IF you up the ante and say you force the cost of 4K origination - then the results must be qualified over the range of the distribution you expect - say for example 2500 Blu-ray discs over retail counters. EVEN if you can do large screen in a limited venue - and yet the final end-run will be retail distro of discs - it can be a tough sell.

Wolfgang S. wrote on 4/4/2016, 10:10 AM

The FS7 seems to be also great to shoot HD only, since the HD quality is great too. That is not true for all UHD/4K cameras - for example it is not true for the GH4 where one better shoots UHD and resize that to HD.

I know some guys who shoot HD with the FS7. BUT in addition you have the possibility to go into 4K/UHD too.

If somebody is sure that he has to shoot HD only, then your are right to say that here he could save a lot of money and purchase a good HD camera. But I think that was not requested here.

wandering journalist wrote on 4/4/2016, 3:11 PM

Thanks... I will look at the FS7. I had looked at another Sony camera as well as a JVC. My other cameras have always been Sony or Canon.