Is Sony's EX1 dead?

For us it is, yes. While Sony’s XDCAM EX1 is still considered by many to be a super camera, especially when using the SDI output and working uncompressed, we sold ours because we see its funeral coming. The EX1 shoots tack sharp images, leaves most prosumer cameras like the HDR-FX1 in its shadow, is easy to use, reliable, but, and a big but, it doesn’t look like film. Hundreds, if not thousands of EX1 and EX3 users have invested in Depth of field adapters to make the footage look like film. But adding a DOF adapter to an EX and the rails to hold it together and the lens adapter and the lens, aside from the whopping cost, creates a monstrously huge rig that you definitely cannot sling over your shoulder and run with. Fortunately, we never pulled the trigger on DOF adapters. We were about to when we discovered Canon’s 5D MKll. We’d heard about this unit many months earlier, and there were blogs and forums up the gazoo equally divided on the up and downside of its pro video usefulness. Because of the naysayers, we almost passed on the opportunity to try out one, but because we already owned quite a few EOS lenses, we decided to give the 5D MKll a whirl. And boy, are we glad we did. We quickly discovered that the video from the 5D is mind-blowingly gorgeous, very rich in color and detail, and because of our assortment of top of the line Canon lenses, we are able to achieve true film-like depth of field. Side by side with the EX1, the Canon was a hands down winner, at least as far as image was concerned. Shooting video with the 5D is not as easy as shooting with the EX1. It’s awkward to hand-hold, so we spend more time with camera supports. It’s not designed to capture EFP sound, so we record sound separately. It’s maximum record time in full HD 1080p recording is about 12 minutes, so we need multiple 5D MKlls when filming long sequences like wedding ceremonies. There is no autofocus while recording video, which is something that we’d typically only use when the camera is on a dolly track or jib arm, so it’s not an enormous issue but we do have to work around this.The camera does not have image stabilization, fortunately some of our lenses do, but again this requires our added attention when shooting. The post production work flow is also a bit tricky as the camera shoots an even 30 FPS and Final Cut Pro does not like the codec, so we are obligated to transfer all the footage to pro-res, time and disc space consuming, and then we have to adjust the speed of our separate sound to make it sync. There are quite a few other quirks, which I’m hoping to see fixed in future firmware releases, such as no headphone jack, (could be fixed by having the audio out jack also feed headphones) and no audio meters. The thing is, when a client looks at a finished production and it looks great, he or she doesn’t care about the pains it took to reach that place. And that’s how we feel. The 5D MKll is not the easiest camera for video, but the amazing quality of its images coupled with its equally amazing price makes it a no brainer for the discerning videographer. Technology is on a never-ending run. For a while there, the EX1 was the camera of choice for under $10,000. Technology moved and the EX1 is looking old. So, until we see the light of the next whiz camera for under $10,000 (probably the Red Scarlet when they actually get it into production) the Canon 5D MKll will reign supreme.