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  • Posts

    • Trends come and go. Vista vision film peaked and declined before digital was invented, and now as a size format it's returning. Anamorphic comes and goes and comes back. It's possible that 10 years from now we'll have another super 16 craze, and Arri will build an Alexa with a tiny sensor to fit that need.
    • As someone who shot exclusively on a 5D3 with magic lantern for ~1.5 years during which I was shooting every week, it is far inferior to most of today's prosumer offerings in every way, including plain image quality. If it's what you have, then yes, a 5D3 with ML produces beautiful images and it will continue to do so. However there is no situation in which I would recommend it as a purchase.
    • The image from the 5D3 and ML is simply incredible.  @mercer swears by it and the images speak for themselves, there is an organic magic to them that is seldom seen regardless of price or form-factor.  Apparently it's pretty stable too, no crashes etc. The 5D camera body is excellent but is ageing, and the sensor isn't the best in terms of modern specs, but prices are also very reasonable due to these things.  EF glass is also plentiful, cheap, and optically excellent.  The lack of stabilisation and the lower DR really suggest that it's a good camera for controlled conditions where DR and lighting ratios are within a manageable range.   If you shoot controlled scenes then the 5D with ML certainly would be a good choice for having one camera.  
    • Looks pretty good.... The poor-shooters Alexa 65?
    • yeh, i understand your point. this is why hollywood pros only use several top brands and never explore (there are exceptions, like shane hulburts).  my point is, an amateur who wants to get into the video world, may start an indie short film with 5d3ml, and the camera limitation is almost gone, even facing the big boys like f35 and alexa ev. this is thrilling, even now, not to say in 2015. 
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