Some filmmakers assume that today's world belongs to small camcorders, for example. Others are still looking for equipment to record on tape. And some more are looking for the largest camera possible, perhaps because they need to feel some weight on their shoulder in order to work calmly. Here's the easy part: Deciding what I want when I buy a camera. The really difficult thing is to try to balance my desires with the real market offer, especially if my desires are anchored in practices of many years ago. It's a difficult problem, but it's something that each of us has to solve. Soon.
Now let's formulate our own prediction from the PAGES OF TV&Video. This is a good year to make decisions about cameras. Why? Because the waters are calm, so to speak. We are at a point where market trends are clearly marked, and are not difficult to identify. As always, we do not know if in NAB the concept of a product that changes everyone's life will appear, but if we think about the real market we have a fairly clear repertoire of options.
Let's list some of these options:
1. ENG. If we talk about ENG cameras, the explosion of formats has been interrupted, at least for a few months. With its NXCAM camcorders , Sony has opened the doors to AVC codecs . JVC continues to support the XDCAM-EX recording model. Panasonic continues with P2, but strongly promotes recording on SDHC cards.
Will there be any big news this year? Probably, but it is reasonable to assume that we will not find in Las Vegas real products of a revolutionary nature. Larger, smaller cameras, with improvements in optics, perhaps, but following the current patterns.
2. VET. As for EFP or studio cameras the situation is similar. We know it's an appropriate time to invest in 1080p equipment even if we don't have an immediate need to use progressive material; simply the cost difference is irrelevant, in most cases. Some users may choose to upgrade their cameras via software, and others may decide to wait another year before moving to HD. You have to check the price lists, because they tend to go down. Between the interest of manufacturers in generating affordable models and the effects of the scale of production, interesting spaces are being generated to buy "large" cameras very soon. Is it worth buying equipment that exceeds HD standards? Ask your wallet... and the bank. While you are working for video, we believe that it is not justified.
3. ULTRA-HD. And for those who eventually need more definition the digital cinema market also offers interesting options in terms of price. Traditional suppliers such as Arri renew their product line. The younger sisters of the RED camera finally make an appearance, and new players appear in the market.
NAB is not the space to buy digital SLR cameras, but it is the space to research your workflows to produce HD video . This reflection brings a question to mind: When was the last time you generated a 2K product, for example? Is it necessary – and valid in terms of return on investment – to buy ultra-HD equipment to use it occasionally? Anyway. Conclusion? The usual one in that world: You have to study, study and continue studying. And maybe think about renting before you decide to buy.
4.3D. The trendy theme is stereoscopic 3D production, which is the exception to the rule in NAB's harvest for this year. You have to watch and wait. We will see real products with real workflows, large and small cameras, unimaginably tangled montages that compete directly with handheld cameras with binocular architecture. 3D production requires a waiting compass, whether we are thinking of doing 3D "in ele" or with compact cameras.
Otherwise, things are clear. Good luck.
