Andrew Reid

In all fairness to Red, had the shootout been projected in 4K the results would probably be quite different!

[quote author=Redbaron link=topic=738.msg5450#msg5450 date=1337275221] They are already whining over at reduser.net! ....grabbing popcorn 8) [/quote] Hilarious thread so far http://www.reduser.net/forum/showthread.php?79297-Hacked-GH2-(choice-over-RED)

[quote author=HurtinMinorKey link=topic=738.msg5448#msg5448 date=1337270364] My guess is that they didn't include the 5D because they didn't really want the full frame aesthetic to play a role in the comparison. [/quote] But the Revenge concept is all about aesthetics...

http://www.theinspiration.com/2012/05/bill-murray-with-his-own-camera-at-the-cannes-film-festival-2012/ Some Minox crap  ;D

[quote author=AaronChicago link=topic=738.msg5443#msg5443 date=1337264277] I dont agree with statements like "cameras dont matter" "good story is all you need." Some people are camera operators/cinematographers ONLY. That's their job to care about the fine details of a camera. Leave it to a good writer and director to create the good story. [/quote] http://www.youtube.com/watch?v=grRit8dwWuU Yeah... have to say I agree with you. Since when did a cinematographer also have to become story teller? They're there to service the story, to assist with telling it. They not writer, director, sound guy all rolled into one. The larger the film, the more specialised each role gets. There's some great non-narrative cinematography on Vimeo, and I am tired of people moaning that it lacks a story to be honest. Let's appreciate the art of cinematography in isolation, as well as great content. But I will say this... hire a good writer!

[quote author=fugue_state1 link=topic=728.msg5413#msg5413 date=1337193145] [quote author=Andrew Reid link=topic=728.msg5406#msg5406 date=1337176168] ...an acute filter and taste is necessary and he certainly has that! Kubrick famously said that he didn't always know what he wanted, but he ALWAYS knew when he saw it. [/quote] Very True!  Walter Murch (sound designer on the Godfather films) said in his book "The Conversations" that the director is more than anything the immune system of the project, strengthening the elements that should be there, and eliminating those that should not be there, regardless of their individual qualities.  And like the body's immune system, the director's sense of what belongs doesn't necessarily operate on a conscious level...  Without this healthy immune system, a work lacks bodily integrity, such as when you get a movie that seems to be cobbled together from parts of other successful movies, or from data gleaned from focus groups.  It seems like it should work on paper, but the finished product is a pitiful behemoth that can barely stand on its own legs... [/quote] The immune system analogy is superb.

[quote author=lubricated link=topic=738.msg5436#msg5436 date=1337256458] GH2 rocks, no doubt about it. But sometimes, just sometimes people chase codecs and pixels too mush don't you think? [/quote] Yes I agree. But there is a place for chasing codecs and pixels on codec and pixel chasing websites isn't there? In filmmaking, the broad sense of it, they should play a small but crucial part. What frustrates me quite a lot is when an article goes up about creativity and it gets ignored, then one goes up about a codec and BOOM. But again - there is a place for that. Nobody should not be surprised that a gear site (and this is partly one of them) should create a lot of discussion about gear! A balance is needed between creative use of gear, and the gear itself. I try to strike that and I think Steve is doing a similar thing with these tests.

[html][img]http://www.eoshd.com/wp-content/uploads/2012/05/zacuto-revenge-of-the-great-camera-shootout-2012.jpg[/img] The Revenge Of The Great Camera Shootout is [url="http://store.zacuto.com/116.html"]Zacuto’s[/url] antidote to pixel peeping camera tests. It airs June 15th online, but preview showings have been taking part around the world. It aims to show how any camera from the very top (Alexa, Sony F65) down (to the iPhone) are viable filmmaking tools. Whilst I agree with Steve that creativity is overlooked too often and gear gets all the attention, I wouldn’t go quite as far as Steve in claiming the camera does not matter. The camera and lens – like lighting, like set design, like a location, like actors – has an aesthetic quality that goes into the production and heavily influences the mood of the film. I would use anamorphic lenses as my trademark style, because I feel that particular ‘brush stroke’ suits my kind of filmmaking, helping to create the moods I want. So yes, the camera matters in my view! Here’s an interesting audience reaction to The Revenge Of The Great Camera Shootout… [url="http://www.eoshd.com/content/8114/audience-reaction-to-revenge-of-the-great-camera-shootout-puts-gh2-in-3rd-place-behind-alexa-and-f65/"]Read full article[/url] [/html]

Don't worry about this. It is variable bitrate by nature (VBR) so only uses the amount of data it needs for the scene. Doesn't look like your shots are stressing the camera too much so you might want to try using the higher quality 88Mbit EOSHD Unified Patch.

[quote author=fugue_state1 link=topic=728.msg5381#msg5381 date=1337108689] Excellent article!  Your commentary is as insightful and useful as Coppola's, maybe even more so... BTW, that's Gordon Willis, the cinematographer of the Godfather films, pointing something out to Mr. Coppola in the first pic, to anyone who didn't know.  Coppola really is listening to and learning from his cinematographer!  That indeed is collaboration of the most fruitful kind. [/quote] Thanks for pointing that out. I am sure Gordon came up with some good ideas, and others that were not as good as the way Coppola wanted it - so an acute filter and taste is necessary and he certainly has that! Kubrick famously said that he didn't always know what he wanted, but he ALWAYS knew when he saw it.

[quote author=HurtinMinorKey link=topic=729.msg5377#msg5377 date=1337107716]All in all, it kinda sucks. Not because of the cinematography, but because it starts off with 7 minutes of housekeeping. [/quote] The actual incident had potential as a short film. The execution of it was dreary. You are spot on with the 7 minutes of housekeeping comment. It was designed to racket up the tension but failed miserably.

[quote author=John D link=topic=727.msg5385#msg5385 date=1337110513] Thanks to you both!  I can't buy used so I'll play the waiting game.  The issue for me is getting the purchase approved by my work.  I've been told that anything close to $500 is fine, but I know $750 would be pushing it.  Nickels and dimes to many, but that's where I'm at.  Thanks again!  :) [/quote] My advice would be to buy the camera with your own money, and rent it to work for $100 per day  ;)

That an artist of his ability can emphasise with an aspiring filmmaker, after nearly 50 years in the business, is great. The mark of a true artist is his ability to connect with an audience and he does so, his films do so... Well his earlier ones anyway. I think Sofia has been producing the better stuff for the last 10 years. What was the theme of The Godfather again? Ah... Succession.

[html][img]http://www.eoshd.com/wp-content/uploads/2012/05/Coppola-Godfather-BTS.jpg[/img] THREE RULES 1) Write and direct original screenplays 2) Make them with the most modern technology available 3) Self-finance them EOSHD takes a look at Francis Ford Coppola’s approach to filmmaking with the help of [url="http://the99percent.com/articles/6973/Francis-Ford-Coppola-On-Risk-Money-Craft-Collaboration"]the 99%[/url] [url="http://www.eoshd.com/content/8093/filmmaking-tips-from-a-legend-interview-with-francis-ford-coppola/"]Read full article[/url] [/html]

$750 is still a bargain. Quite often used they dip to $600. http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=9&pub=5574929666&toolid=10001&campid=5336727214&customid=&icep_uq=gh2&icep_sellerId=&icep_ex_kw=&icep_sortBy=12&icep_catId=625&icep_minPrice=500&icep_maxPrice=800&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg There's one for $630 Buy It Now but it is in Taiwan. http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5574929666&toolid=10001&campid=5336727214&customid=&icep_item=230791556742&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg

Since the clipping (I wouldn't call it a gamma shift though it looks similar to one) happens in VLC Player when previewing an MTS file direct from the AVCHD folder on the card, no it is not a Premiere Pro issue. I suspect this is deep in OSX's Quicktime code, on both Snow Leopard and Lion. It could even be the footage which is flagging some meta data in the wrong way so Apple may even be blameless. What isn't acceptable is their complete silence over it, which has been going on for 3 years and a complete lack of AVCHD support in QT X's player.

[html][img]http://www.eoshd.com/wp-content/uploads/2012/05/fs100-and-gh2.jpg[/img] I’ve had my suspicions for a while now about AVCHD footage having a different exposure on my Mac to on the camera. When I edit my GH2 and FS100 stuff natively in Adobe Premiere Pro CS5.5 or the new CS6, or preview AVCHD MTS files in VLC Player (Quicktime XÂ still does not support AVCHD) blacks are crushed and the image is darker overall with far less shadow detail than on the camera’s LCD. [url="http://www.eoshd.com/content/8076/how-mac-osx-still-screws-your-gh2-fs100-nex-footage-a-must-read/"]Read full article[/url] [/html]

The Canon FD 35mm F2 is a beautiful lens. The N version is the one to get, the older SSC with concave front element is beautiful too but also happens to be radioactive. http://www.youtube.com/watch?v=dyWNhZlT0qU The OCT18 35mm is every bit as good optically, has a more interesting flare and I'd say also probably more character in the image overall. However the focussing mechanics allow the optical barrel to fall out if you go too far at the macro end. If you get Ciecio's later adapter (part-designed by me!) this problem is solved but the focussing mechanics are still very old fashioned compared to the Canon. FD adapters tends to be cheaper than the OCT18, and available for more camera bodies. I'd go for the FD if you intend to use it on more than one camera body or with a follow focus. In terms of the image I'd say the LOMO OCT18 35mm T2 has slightly lower contrast, bit hazier, dreamy and cinematic, very very sharp wide open, busy bokeh (which I actually like) but can be creamed out nicely. Canon FD 35mm F2 has creamier bokeh wide open, but not so much stopped down (fewer iris blades) is also very sharp, better contrast and focussing, more resistant to flare (is this a good thing? I think less flare = less cinema).

5D3 and GH2 are 709 in-camera, not 601... As far as I am aware. The FS100 picture profile settings have an option for 709 mode. It looks dreadful with it enabled. I'll look into MP4Box, cheers.

[quote author=richg101 link=topic=724.msg5327#msg5327 date=1337017730]what post processing are you applying to this footage?  any de-noise in software?[/quote] None. Straight off the card and onto Vimeo. No fluffing.

I'm happy with colour reproduction. The Leica M8 didn't have an ir-cut filter over the sensor either. I've ordered some Leica ir-cut filters for my lenses.

[html][url="http://www.vimeo.com/42091083"]http://www.vimeo.com/42091083[/url] This is a torture test of the low light abilities of 3 cameras. There are three test scenes in a battered old ex-factory in the east of Berlin. The first consists of a completely pitch black room with glowing pearl lighting. The next one is in the roof is lit using a single iPhone 4S torch with the cameras ramped up to ISO 12,800. The third scene is again a pitch black dark room with the lights of a building outside reflecting in a mirror on the wall. [url="http://www.eoshd.com/content/8062/shootout-in-low-light-5d-mark-iii-vs-fs100-vs-gh2/"]Read full article[/url] [/html]

[quote author=pat1 link=topic=486.msg5286#msg5286 date=1336920505] This interests me far more than the bland, hackneyed hollywood stuff coming out to showcase the latest cameras. Good to see some nice Bridlington landscapes too... cheers for the blog, when you're in the market for camera gear, its good to have a resource that doesn't propogate the hype... [/quote] Glad to see we are on the same page. Note to self - I'd happily take 10 of these kind of enlightened readers than 10,000 of the other bozos.

[quote author=HurtinMinorKey link=topic=635.msg5195#msg5195 date=1336694107] [quote author=dustatron link=topic=635.msg5194#msg5194 date=1336693673] As video taxes a cmos chip in a different way than stills. [/quote] Please elaborate. [/quote] Faster readout, more heat generated (makes for more noise), demands of video on CMOS design such as a rolling shutter which is fast enough (to avoid crazy jello) rather than a mechanical shutter, in-line A/D converters to allow fast readout of digital data to the image processor.

Normal class 10 is fine.