Andrew - EOSHD

RX100 sorry, great little camera. I get confused as usually the model with the larger number is the higher end one. Don't have the RX1, video is moire & aliasing hell on it and they TOOK OUT peaking. Ridiculous!

The Panasonic GH3 was a big update over the legendary GH2 and I am putting the final touches to my review (and a lot of other future material). I've been shooting a lot with it alongside by cinema cameras, the FS100 and Blackmagic Cinema camera. Where are the Panasonic pro cameras? Well the GH3 is $1300 and that leaves quite a large space above it for a high spec 'DSLR-type' camera from Panasonic. I'm getting more and more clues and info as to a possible high end GH camera, and if true this would be a dream for indie filmmakers and a brilliant move by Panasonic.   http://www.eoshd.com/content/9869/will-we-see-a-new-professional-panasonic-gh-series-camera-at-nab

      See the full specs of the Switronix TorchLED BOLT and accessories here LEDs are in my opinion the future of cinema lighting. Until now though I've not been too satisfied with the throw of light they produce. Too short, too directional and the character of the light isn't the most flattering. The BOLT has been designed with input from filmmakers and contains two sets of LEDs of different temperatures and you can mix the temperatures. What's it like?

I really enjoyed watching this as liked the stunt work, locations and props. Good as a POV piece. But I wish they'd used a GH2 with a regular wide angle instead - the fisheye and un-cinematic camera don't really do the shots justice.

So what is the future of TV? Well there's a very good chance it isn't 3D or 4K, and that TV panel manufacturers are heading for even tougher times. HBO's CTO (Chief Technology Officer) Bob Zitter is one of the most prominent TV industry voices to voice is belief that 3D and 4K are not suited to home viewing. His thoughts don't make good reading for Sony, Sharp, Samsung, etc... but is he right?

Maybe I've been living in Germany too long without a TV. These commercials don't bother me in the slightest :) But I think I know what you mean. For me it is more to do with the content and insipid style than the art direction or lack of it!

A lot of commercials are shot with the Alexa, or in 24p, and neither of those are dead. There's been a lot of shit paintings in the colour red but it didn't kill the colour. And so on...

The Flare Factory 58 is modified lens by fellow British filmmaker Richard Gale, and a regular member of the EOSHD forum. A few weeks go Rich sent me one of the first of the lenses, a Flare Factory 58 (serial 004). Humorously branded Dog Schidt Optiks, Rich is modifying Helios 44-M 58mm F2.0 lenses making versions with a unique character which can be customised on order. They are hand assembled and modified in England.

Tomekk - I see your posts and don't see the logic in them to be honest.   The 650D was a step back from the 600D in both build quality and features.   So the 700D has the crop mode back. Great. That means the 700D is actually the 600D with a new badge, 2 years later!   Is this progress, really?   My review of the 700D would be very short, in fact - I'll do it now.   EOSHD 700D Review   The Panasonic GH3 out performs it in every way and offers more features for a modest $400 more. The Nikon D5200 doesn't suffer from moire and aliasing and has better image quality in both stills and video mode than the 700D, video on that camera is on par with the $3000 5D Mark III yet it is a $800 camera, an almost identical price point as the 700D.   Those who require a Canon DSLR and have a bunch of EFS lenses can save the money and get the almost identical 600D. The new DIGIC 5 processor brings no new video functionality or image quality.   ENDS   And if the image quality is somehow miraculously good with the same sensor and processor as before I shall eat my words. There's no way Canon will allow this camera to be better than the 6D, 5D Mark III or (especially) the upcoming 7D Mark II.

I don't have any prejudices, just eyes.   That was the Christmas quarter.   October 25th 2012 - 36% net fall, 42% operating profit fall http://www.marketwatch.com/story/canon-profit-falls-356-well-below-forecast-2012-10-25

The Disp button on the camera Roger.

Try pressing the Disp. button and toggle 'clean mode'

  Well looks like that is DNG out.   I'll look for a good app which can convert the raw NEF files to DPX.

  The 6.5mm lens covers the sensor or did you crop-in slightly? Impressive if it covers.

Looks like we might have to use DPX format or TIFF sequences.   From: http://en.wikipedia.org/wiki/CinemaDNG   "CinemaDNG is different from the Adobe DNG (Digital Negative) format that is primarily used as a raw image format for still cameras. However, each CinemaDNG image is encoded using that DNG image format. The image stream can then be stored in one of two formats: either as video essence using frame-based wrapping in an MXF file, or as a sequence of DNG image files in a specified file directory. Each clip uses just one of these formats, but the set of clips in a movie may use both."

  Yep the choice is there. Own a DSLR and rent the expensive stuff. I've always found ownership more satisfying though, but it depends on what you do with the camera.

  I'm having the same issues with Resolve. It seems it reads the resolution metadata incorrectly from the DNG file. Maybe it needs to be converted to a more standard resolution like the 4K film Resolve preset of 4096 x 3112.   It is still rather odd however as DNG is a resolution independent standard and Resolve should work with it.   We need to find a way around this... Or they need to patch the app.

  Thankful for what? That the amount of work required bankrupts your company?   Logic isn't your strong point Leang.   If Hollywood wants the VFX community to flourish they need to loosen the purse strings.

  Execution is important... If you have an idea to execute. Let's follow your logic and execute on nothing... LAMAOAOAOO

There's a reason DSLRs were nearly the death of the rental market. Given that quality for that price, filmmakers saw no need to rent. Do you remember when Philip Bloom was shooting with the 7D? On Red Tails? The rental market was really going through a tough time because indies were using DSLRs instead of renting an EX1. Then the C300 came along and solved all that.   It makes sense to rent an FS700 if you need slow-mo, it makes sense to rent a F55 if you need a global shutter and 4K... And so on.   To rent a 5D and put an arbitrary time limit on your shoot and a daily overhead is silly when you could have owned one for not much more and shot with it for 3 years solid!

It makes zero sense to rent a camera as cheap as a DSLR most of the time especially considering the price of a used GH2 or 550D.   If you do more than 5 days shooting a year you will spend more on renting a camera body than on buying a camera body!

Great follow-up article thanks!

  It is actually the movie studios who are responsible for bankrupting post houses. There are many doing their jobs well for the movie studios and getting the best deals on VFX jobs. The houses are competing against each other and there are a lot of them. The rates tumble and the studio gets a great deal, the VFX house not so much. It is nothing to do with the management of the VFX house. They have to compete on price, and then at the same time, produce a masterpiece like Lie of Pi which is incredibly labour intensive.

We're clearly not getting what we pay for and we're being ripped off.   4K raw clearly does not cost what filmmakers are currently being charged for it, because a mass produced CMOS sensor can do it in a $300 camera.   I just want to see an end to the profiteering and lack of progress. The Japanese have been sitting on their hands and have had a monopoly on the DSLR market. Where is the American photographic giant, apart from bankrupt? Where is the British camera manufacturer? Germany has one but they don't play in the consumer market. I find it incredible that Japan is the only big player in this. It is time for a Blackmagic to do for DSLRs what they have done for raw digital cinema cameras, but at considerably higher volumes.

  They were an innovative company up to the point of the world-wide recession and global financial troubles in 2008-09. This scared the Japanese corporations into being more conservative and consolidating what they had. They've also had to contend with a dying compact camera market, natural disasters, unfavourable currency rates and in the case of Sony & Panasonic, a dying TV market.   For an entire generation of people compacts and TVs have given way to phones and computers.   Canon and Panasonic should be providing their optics and sensors to smart phone makers like Sony. The cameras should be refreshed every year to take advantage of doubling CPU speeds. They need to get their house in order and stop acting like photographic companies and more like the computer companies they'll need to become in order to compete in the future.