Blackmagic URSA Broadcast G2 (Caméscope grand capteur 6K/4K, 1 CMOS 2/3 » – monture EF & B4)
Blackmagic Pocket Cinema Camera 6K Pro (Caméscope 6K HDR – Raw / ProRes – CMOS Super35 – Monture EF Active)
Sony Cinema line FX6 (Caméscope 4K CMOS Full Frame XAVC – Monture E)
Blackmagic URSA Mini Pro 4.6K G2 (Caméscope 4K/HD – Raw / ProRes – CMOS S35 – Monture EF)
Fujifilm GFX ETERNA 55 (Caméra Cinéma 8K – CMOS 43,8×32,9 – 102Mp – Monture G + adaptateur PL)
Panasonic AW-UB10 (Caméra Box 4K – CMOS M4/3 » – 10,3 MP – Monture MFT (3G-SDI / HDMI / PoE+ LAN /USB-C))
Sony FX30 BB (Caméscope compact 4K UHD – CMOS APS-C Exmor R – Bionz XR – (XAVC S / HS / S-I) – E-Mount – HDMI, MiShoe …)
Sony ILME-FX2 B (Caméscope compact 4K60p – 33MPx – Exmor R CMOS sensor – Full Frame – XAVC HS – Monture E)
Canon EOS C50 (Caméscope Digital Cinema 7K 32Mp – Autofocus DualPixel – CMOS AF II avec EOSiTRAFX)
Canon EOS C80 (Caméscope Digital Cinema 6K – CMOS S35 – Format AF Dual Pixel – RF)
Blackmagic PYXIS 6K (Caméscope grand capteur 6K – Monture L/PL/EF)
Sony FX3A (Caméscope compact 4K CMOS Full Frame XAVC-S – Monture E)
Canon EOS C400 (Caméscope Digital Cinema 6K – CMOS Full Frame – Triple Base ISO, Dual Pixel CMOS AF I – RF)
Blackmagic Ursa Cine 12K + EVF (Caméscope 12K – Raw – CMOS S35 – Monture PL + EVF)
Blackmagic Ursa Cine 12K (Caméscope 12K – Raw – CMOS S35 – Monture PL)
Blackmagic URSA Mini Pro 12K OPLF (Caméscope 12K – Raw – CMOS S35 – Monture PL)
Sony Venice 2 6K Ciné (Caméscope Digital Cinema 6K – CMOS 35 mm plein format 6K – X-OCN/ProRes – Monture PL et E avec viseur et licence Full frame et Anamorphique)
Sony Venice 2 8K Base (Caméscope Digital Cinema 5.8K – CMOS 35 mm plein format 8K – X-OCN/ProRes – Monture PL et E avec viseur)
Sony Venice 2 8K Ciné (Caméscope Digital Cinema 8.6K – CMOS 35 mm plein format 8K – X-OCN/ProRes – Monture PL et E avec viseur et licence Full frame et Anamorphique)
Arri ALEXA 35 Lightweight Set (Kit caméscope Cinéma 4.6K avec monture LPL, viseur OLED et supports)
Online store of household appliances and electronics
Then the question arises: where’s the content? Not there yet? That’s not so bad, there’s dummy copy to the rescue. But worse, what if the fish doesn’t fit in the can, the foot’s to big for the boot? Or to small? To short sentences, to many headings, images too large for the proposed design, or too small, or they fit in but it looks iffy for reasons.
A client that’s unhappy for a reason is a problem, a client that’s unhappy though he or her can’t quite put a finger on it is worse. Chances are there wasn’t collaboration, communication, and checkpoints, there wasn’t a process agreed upon or specified with the granularity required. It’s content strategy gone awry right from the start. If that’s what you think how bout the other way around? How can you evaluate content without design? No typography, no colors, no layout, no styles, all those things that convey the important signals that go beyond the mere textual, hierarchies of information, weight, emphasis, oblique stresses, priorities, all those subtle cues that also have visual and emotional appeal to the reader.











