#Editready 2 review software
Since software v1.8 you have been able to record ProRes (up to 422 HQ) and CinemaDNG RAW to the built in SSD drive. The sensor has a frame size of 21.12mm x 11.88mm and 4000 x 2160 pixels (UHDTV for ProRes) and features a true global shutter, so there are no rolling shutter artefacts. If you block them, for instance with a badly designed cage or tripod mount, then the camera will overheat and shut itself down. The camera is pretty power hungry, and that also means that the fan and cooling vents on the bottom of the camera are important.
I wouldn’t think of using the camera without external power (I tried Anton-Bauer’s fabulous Dionic HCs with their A-B’s own cheese plate and Gold mount) and the internal battery means that I can hot-swap the external battery – even in mid-record if I need to. There has been a lot of bitching about the battery but I like it. The camera has the same odd but, ultimately, useable array of connections as the Cinema Camera as well as, the same – far too shiny – LCD, and the same non-removable, internal battery. The build quality is solid to the point of being a bit heavy, but once snuggled into a suitable rig it’s an easy, manageable and operator friendly package.
The Production Camera has the same love-it-or-hate-it form factor as the Cinema Camera and comes with a Canon EF lens mount – which makes much more sense with its Super 35 sized sensor than the CC’s smaller silicon, if you want to use wide angle lenses.
Most of the newcomers, like RED and Blackmagic, stumbled somewhat with their first releases.Ī couple of years down the line, however, Blackmagic’s camera range has matured, and the latest software release for the Production Camera 4k adds many of the features that users have been crying out for. Some manufacturers, like Sony, seem to churn them out at an alarming rate, but then they’ve had a lot of practice. The sensor has a frame size of 21.12mmx11.88mm and 4000×2160 pixels (UHDTV for ProRes) and features a true global shutter
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