While Nikon and Canon have opened up the market for this category, other manufacturers have quickly joined in. Panasonic (Lumix) and RED Digital Cinema have already made key announcements.

 

Back in the days of 35mm film SLRs, Olympus distinguished itself from the pack by developing the OM system, a jewel of miniaturization.  They are repeating this strategy in the digital SLR world by developing the Four Thirds system, which uses smaller sensors and lens mounts to enable a more compact design.  Extending this concept, the Micro Four Thirds system takes advantage of the further miniaturization made possible by an electronic viewfinder, eliminating the mirror and pentaprism assemblies that bulk up traditional SLR designs.

 

Panasonic has joined forces with Olympus in championing this new standard.  Cameras without video capability are already hitting the market, the Lumix G1 for example.  However, Lumix has also announced the intention (and displayed mockups at the Photokina 2008 and CES 2009 shows) to introduce an HD-video enabled version of the G1 in early 2009, to be called the Lumix G HD.

 

Specifications for the Lumix G HD are still under wraps, though we do have photos of the Photokina mockup.  The mockup seems to have a built-in stereo microphone – but no evidence of external audio inputs.  Lettering below the viewfinder hints that it may use the AVC (H.264) video format.  We also might speculate a little by extrapolation from the G1, which has 12.1 megapixels, 23 autofocus points, and a 3” LCD display.

 

 

 

 

The RED DSMC camera 

The RED Digital Cinema Company has already turned the video world topsy-turvy with its introduction of the RED One, a high-end video camera with aggressive pricing for its performance level.  The RED One has a modular, systems-oriented design that is very much aligned with the approach that DSLRs take to still photography.  Therefore it is only natural that RED might eye the high-end still camera market as a possible next conquest.

 

 

 

 

RED has launched an initiative to develop what they call a DSMC, or “Digital Still and Motion Camera” system.  Set for introduction in the 2009-2010 time frame, the DSMC consists of a system of camera bodies, lenses, power modules, I/O, recording and storage modules, viewfinders, and other accessories that they say allow one to configure upwards of a million distinct combinations.

 

 

 

 The DSMC consists of two basic product lines, the economy “Scarlet” family and the high-performance “Epic” family.

 

 

The Scarlet series consists of four basic bodies, with three performance levels.

 

Their 2/3” (10.1x5.35mm) sensor with 3072x1520 resolution (4.9 megapixels) will be available either with a fixed 8x zoom lens mounted to the body, or in a body with an interchangeable lens mount.  This mount uses adapters to support B4 and C mounts in addition to Red’s own proprietary mini mount.  Either 2/3” Scarlet body will support frame rates from 1 to 120fps.

 

The Scarlet S35 body uses a “Super 35mm” (30x15mm) sensor with 5120x2700 resolution (13.9 megapixels), at up to 30fps.  Besides the RED proprietary lens mount, it has adapters for the PL, Canon and Nikon lens mounts.

 

The Scarlet FF35 body uses a “Full Frame 35mm” (36x24mm) sensor with 6000x4000 resolution (24 megapixels), at up to 30fps.  Besides the RED proprietary lens mount, it has adapters for the PL, Canon and Nikon lens mounts.

 

The Epic series likewise consists of four basic bodies.

 

The Epic S35 body uses a “Super 35mm” (30x15mm) sensor with 5120x2700 resolution (13.9 megapixels), but unlike the Scarlet S35, the Epic can go up to 100fps.  Besides the RED proprietary lens mount, it has adapters for the PL, Canon and Nikon lens mounts.

 

The Epic FF35 body uses a “Full Frame 35mm” (36x24mm) sensor with 6000x4000 resolution (24 megapixels), at up to 100fps.  Besides the RED proprietary lens mount, it has adapters for the PL, Canon and Nikon lens mounts.

 

The Epic 645 body will use a medium-format (56x42mm) sensor with 9334x7000 resolution (65 megapixels), and frame rates up to 50fps.  Besides the RED proprietary medium format lens mount, it has an adapter for the Mamiya lens mount.

 

The Epic 617 body will use a large, wide-format (186x56mm) sensor with 28000x9334 resolution (261 megapixels).  The maximum frame rate will be 25fps.  Besides the RED proprietary 6x17 lens mount, it has adapters for Linhof and Alpa lens mounts.

 

 

 

 

RED’s proprietary REDCODE format supports a RAW stream that preserves 11 to 13 bits (or f/stops) of dynamic range in the recorded signal. This compares well with the 12 to 14 bits available in RAW modes from DSLR still cameras.  (It goes way beyond the 8 bits of dynamic range available in the MPEG and Motion JPEG video formats used by P&S or video-enabled DSLR cameras.)

 

RED warns, with refreshing candor, that all prices and specifications are subject to change at any time.