nahua

Almost all interviewees talked about telling stories.
Yes, it matters for sophisticated film makers and movie critics, but the mass audience, where the most money comes from, do not care. They want to see boobs, special effects and stupidity -- a quick gratification for investing their money ($12 movie tickets) and time spend watching it (Youtube).
If the exact contest was shot side-by-side with any of the two cameras tested, most audience members are not going to be concerned about what footage is better than another. They do not understand or care about a little noise, burned out highlights or a slight yellow cast.
The general consensus seems to point to the direction that more money you spend on camera, easier and faster it is to turn it around.
It all comes down to money.
Most artists have luxury of time, therefore they can make any of these cameras work (well.. maybe not iPhone). Since their budgets are severely limited, they choose reasonably prices cameras.
Big budget movie makers, on the other hand, need to get things done quickly first time around, therefore they choose the big-boy cameras, minimizing the overall cost.
Having said all that, 7D still sucks compared to GH2. It just tells you what is popular (Canon) isn't necessarily the best for the money. Marketing determines results, not truths.

[url="http://www.magiclantern.fm/whats-new/78-articles/news/137-first-alpha-version-for-5d-mark-iii"]Go here to download the file (you must be a donator to access it, large or small it doesn't matter)[/url]

The first Alpha version of the 5D Mark III Magic Lantern port has been outed. 5D Mark III owners can give it a go. I am going to try it myself (thanks Alex). The initial feature-set is quite small, and there's no bitrate tweaks yet. These will be added later by the test and development team step by step once they are seen to be stable.

It is the camcorder announcements that are interesting. And the conclusion is simple.

Canon is dead. Sony has arrived.

Damn... looking good. It makes the C100 show it's true age with the 4-year old camera technology that it is. I really, really, love the BMCC... but I just don't know if I can pass up Full Frame-60fps. If this resolves a true 1080p image, then I might have to wait on Black Magic for now.

I really love my little GH2 and if they give us clean HDMI out and a 4:2:2 color space I am sold. I want a lot of other features too but those things are enough to make me upgrade. I really don't want them to increase the size of the camera. One of the things I really like about the GH2 is the small size. I can shoot and people have no clue I am filming or they see the size of the equipment and don't pay any attention because they think I am a tourist. That makes for really natural situations.

Stoked we may see 60p on this some day. It makes the camera a lot more interesting to me. And I was pretty interested already.
On another note, the childish and bizarre rants and insults in this thread are beyond unprofessional. Avro, I don't know what kind of work you do, but I can tell you, with the attitude expressed here, I would never hire you for any sort of work.

[quote name='EOSHD' timestamp='1346711974' post='17259']
Maybe all these money obsessed filmmakers need to go to school as well. Or at least art class.
[/quote]

What? Filmmakers taking art classes? That's me; in NYC for the semester and loving it. L.A. last semester, no work this summer, NYC this semester, broke, single and in debt . . . life's a roller coaster. Before you go being a negative nancy, ask yourself what good it'll do in the grand scheme of things (usually the answer is no good at all). Just keep on trucking, learn from the hard stuff, work hard when you get the opportunity.

That's what I like about products like the BMCC. There's clear innovation, and were there's innovation these days, there's usually a pretty special team of people behind it. They're persistent, passionate and professional; they wouldn't be able to innovate otherwise. I'm very excited for the BMCC not for the nitty gritty details that it is measured by. I'm exited about what it means on the grander scale. It is innovation and progress. Hats off to Blackmagic.

Anyone who thinks that a RAW shooting camera has crushed blacks... has no idea what they are talking about.

And can people stop using the "no low-light capabilities" as a scapegoat? Anything that shoots this clean, and with still resolving full-detail, at 1600 ISO, is GREAT in low-light. Before 4 years ago, cameras looked like complete garbage around the sensitivity of 320 ISO. Now all the sudden 1600 is terrible? FILM itself looks like garbage around 800 ISO. Some people need a reality check.

[quote name='avrofilmvideo' timestamp='1346709723' post='17255']
That's right..youngsters
Off to School..
TADA have to go now-time to make some $$
[/quote]

Doing what? Working in the call center for Sony? Have fun with that.

Hello everyone, I took some of the collective advice and did some testing with new settings. It appears that if I raise the shutter speed much higher in full M movie mode based on the fps im am shooting the AF doesnt hunt. Oddly shooting at 60P at roughly 160ss the AF works pretty darn good. Of course I will use a combo of full manual focus and some AF but I think AF is now more predictable and I have more confidence when I need to use it. thanks to all who replied. Great community and great camera! Here is the result of my last shoot. All manual 60p 720p AF on. Used the kit lens in this video. Thanks again!

[url="http://vimeo.com/48159523"]http://vimeo.com/48159523[/url]

We recently shot a music video for song that was really slow, atmospheric and meandering. We used my FS700 and it was mainly shot in 60fps (with a few shots at 120 and 240) and it looked GREAT because the song was so slow and mellow that the slow motion just complimented it so well.

The FS700 is so flexible in so many ways BESIDES the frame rates. I would NOT even consider the C100 just because it does not have slow motion (sorry, but 60i does not qualify). That is such as joke to not have at least 60p in 2012. For the BMC, I can understand no slow motion because it's only $3000 and it has RAW, but for Canon, no excuses. I think if all you shoot is narrative and events, than 24fps only is fine and so is the C100. But for subjects like music videos, sports, B-Roll for documentaries or just the occasional tricked out shot; slow motion just adds so much drama to those typs of shots that 24fps just cannot do.

Furthermore, after being on Canon for almost 4 years, I am happy to get away from the baked in Canon look. I LOVE the FS700 Cinegammas, especially Cinegamma 1 as it's really nostalgic and filmic looking and so great for grading. Unlike many, I like the form factor of the FS700. I shoot tons of handheld (since it's a look I love) and I do it just bare bones, no rig, no extra EVF, just using what is on the camera and I get great shots handheld.

I think if the C100 was around 5K, it would be a hit, but the FS700 (especially is really hard to beat at that price). Rumor has it that Sony is about to announce a Codec upgrade for the FS700 very soon. Possibly in-camera 4:2:2 50mbps. I certain hope that is the case, and if it is, the C100 will be lost even before it launches.

I think the C100 is really just a camera for the Canon fan boys. For people who want value, they are going to look elsewhere at BMC or Sony.

Maybe in 2013, Canon might finally break the Gaaasssspppppp...... the 60p barrier. For them, it's a long, long time coming.

I did mention this in another thread, but I think that it probably deserves its own topic.

For those of you trying to mount diopters on LA7200 anamorphic lenses, this is what I have been doing (see pictures).

The binding product is called Dual Lock. It is similar to velcro but is adhesive-sided and creates a stronger bond. I never have to worry about my diopters slipping off. It works well with inexpensive Cokin-P diopters as pictured. With a GH2, I can shoot with the Voigtlander Nokton and the LA7200 with only slight vignetting. So 30mm and up should be vignette free.

It's a very simple concept but I haven't seen anyone else using it and it took me a while to figure it out. I hope that others find it useful.

[quote name='Germy1979' timestamp='1346263607' post='16859']
C300 $16,000 ....... Scarlet X (raw) $16,000
C500 $30,000 ....... Red One MX $25,000
5Dmk3 $3500 ....... Blackmagic Cinema Cam. $3000
C100 $6-8000? .... Kineraw S35 $6300

I guess it's just loyalty at this point.
[/quote]

Unfortunately the industry isn't price sensitive and there's a lot of inertia. By price sensitive I mean that competition can undercut Canon all they like but for a lot of pros it is a non-issue. By inertia I mean industry can be stubborn. Look at how long it takes a company (even a small one) to update the operating system on office workstations, whilst teenagers seem to have no problem upgrading to Windows 7 for instance, the day it comes out.

The C300 is risk free, proven, solid, all the boring things that makes it so wonderful as a filmmaking industry tool.

It is also very well marketed, has huge established base of Canon EF lens users and ergonomically it is very well designed.

Be glad if you are considering a Blackmagic, because you are thinking differently and when your short feature is shot in glorious 2.5k 12bit, it will look a damn sight better than stuff shot on a 7D for similar money.

Jon Connor says it well. Canon have a knack for cynically carving up the market. And it is working for their bottom line. http://twitter.com/jonconnorfilms/status/240874774132318208

Though their risk averse and rather unadventurous business strategy is working, it shouldn't matter to the artist and to those who think outside the box now we have the alternatives for similar money to a DSLR - vote with your feet and forget what the industry chooses to use.

Another good point: the [b]XF100 [/b]camcorder is about 2500 quid and has their MPEG2 [b]50mbps 422[/b].

The use of the lower bitrate codec in this seems like obvious product tiering, if indeed the resulting footage is noticeably poorer, which it may or may not be. Hmmm, we'll have to wait and see I suppose. If it's of equal quality to C300 it'll kill the aforementioned for a lot of users.

The Canon MPEG2 is pretty damn good. Not all codec implementations are equal, regardless of MPEG type or bit rate. But yeah, more bits is usually better, so I'm getting pretty sick of 24mbps when the quick SD cards write at 760mbps (96MBps).

Canon have, for all their faults, killed higher-end products before though: the 550D made the 7D redundant for many people, unless they wanted to shoot in the rain with L-lenses, or shoot a lot of still frames per second. So it might be that they're doing the same again, and opening up the market a bit.

As I said elsewhere, I just finished a long shoot on FS700 and I only really like the slow-motion, the form factor was so hard to deal with compared the the C300, all corners and awkward places for buttons. But I AM IN LOVE :wub: (lol) with the slow motion! It's so good! :) Again though, the low bitrate codec is such a shame, cos the slow motion is tied to that codec as it can only be recorded internally.

I wish the whole 24mbps thing would just hurry up and f-ing die! :unsure:

It's just so much bloody money! I love the 550D with Magic Lantern, cheap enough to own and chuck about, great for promo projects that only really have 720p delivery. I love the RX100 as a B-cam: sharp as anything, 50/60p, the same AVCHD rate as this and so well stabilised you can do away with tripod and just screw a handle into it.

But the C100 will hire for about 100 quid a day I think, so though I'm sure I'll hire them occasionally (my favorite hire guy pre-ordered one today) I won't buy it myself.

The BMD looks great as a buy though because my vanity projects are likely to be films, so I'll want quality rather than turnaround speed. It's nice to see things hotting up so much.

If you client cares about raw, then they probably arn't looking to hire someone who is just starting out. They'd probably be more scared if you tell them you are using a Black Magic Camera (they''ll think you are into Vodoo). :D

I'm talking return on investment. For all the advantages raw offers in post, it also comes at the cost of workflow drag. Plus, being able to do stills really broadens your market.

All that being said, if all I cared about was doing video, and getting work wasn't a problem, I'd get a BMC.

Maybe you know more than me at this point, but don't you think you should at least wait for BM camera tests?

Sony could still fuck things up too.

And please Andrew, change the name of your website so these trolls can stfu about the name of your site. I swear simco must be that guy on nofilmschool crying bout EOSHD.

While I appreciate the content Andrew, this comparison doesn't address a lot of the questions I have about the BMC.

For all of its faults, my Mark III is predictable, easy to work with (especially compared to my hacked GH2 with some of the more space and SD card intense Driftwood patches) and I know how to make it sing. My clients still 'ooh' and 'ahh' as much as they ever did when they see my footage.

Here's what I still want to know:

What does a raw workflow really entail on a project by project basis? I can guess that I'm definitely going to need to increase the amount of media storage space.

Does raw necessitate that I edit from an SSD to get any kind of usable speed? What about Resolve and rendering speeds associated with that? Am I going to have to upgrade my systems to handle it? I'll bear the burden for my shorts and music videos but is it worth working a corporate video in raw?

I know the answer to those questions should be the ability to shoot in Pro Res and DNxHD but how does that performance compare to a MK3 or FS100?

What about audio? Are the preamps quiet enough to work on their own or do they need a juicedlink beachtek type solution like MK3?

Lastly - as amazing and exciting as a solution like the BMC is, I can't help but feel like this is only the beginning of the affordable raw revolution. I'm excited for the technology and what its going to do to our footage but does it make sense from a business standpoint to wait and see how the early adopters fare?

And as fast as things are changing, will we see a sub-$5000 camera feature not only raw but maybe built-in ND and high speed capabilities in the next year?

[url="https://vimeo.com/47842770"]https://vimeo.com/47842770[/url]
Guys,
Just shot a new teaser for an thriller we are hoping to produce this year called "Boxed In"
We are currently raising funds through Indiegogo for not only "Boxed In" but a second feature as well to do it as a Micro-Double Feature. The trailer for that will drop in two weeks. If you like what you see from the first trailer mosey on over to our Indiegogo page. We have some unbelievable prizes. One of which includes a brand new Canon 5D Mark III! Once we get over 400 donations of $25 or more, all the donors names will be thrown in a hat and one will win the camera. So even if the flick isn't up your alley, you have a chance to win a $3500 camera for $25 bucks. We have other amazing prizes as well, and honestly I hope you just love the concept of the movies, because we are extremely passionate about getting them made.


[url="http://www.indiegogo.com/doublefeatureoffright"]www.indiegogo.com/doublefeatureoffright[/url]
Thanks for watching guys
-Andy Palmer

Rich,
Great notes sir, and thanks so much for watching. I might just try the color change and send it to you. The great thing about First Light and RED, is I could test that out in a matter of minutes. I agree we went a little more "Kodak" punchy, but I wanted to be a bit more aggressive with it for this go around. It's funny I edit reality shows for a living, and as I sat down to do this, I realized what a different beast, trailers were. We will definitely hire a pro, if we can get this sucker off of the ground on Indiegogo. Thanks again for your support guys. EOS HD is my first stop every morning to catch up the latest and greatest.
Andy

Hello everyone, I first heard of the gh2 and anamorphic lenses on this blog and I got curious.

After reading and reading I finally decided to take the leap and ordered one.

Although I'm not new to images from my post-production trade I am new to film making and it's fascinating.

I'll share the videos of my journey in this thread, there is a complete rundown of each vid on vimeo if you are interested.

I should get my anamorphic clamps and diopter next week, can't wait to get them and finally try my anamorphic lens! :)

Looking forward to hearing your thoughts thanks

http://vimeo.com/46627432

http://vimeo.com/46683852

It would be amazing if the GH3 has an 80Mbit Intra-frame codec. If not, then at least I hope it has clean, recordable 4:2:2 24p out the HDMI port to use with an external recorder. If it can do either of those things, then I'm ditching my GH2 in a heartbeat. Hopefully it has 1080p at 60p as well.

[img]http://www.eoshd.com/wp-content/uploads/2012/08/Rewo-gh2-cage-on-set.jpg[/img]

Photokina is less than a month away now and it is going to be a busy time. I will be there to get my hands on the new cameras, and I don't think I can remember a month like this with such exciting products being released.

Sony's full frame camcorder the VG-900 will have a mirrorless mount, all in a video camera form factor for £2.5k and now we have a Blackmagic Cinema Camera that shoots amazing 12bit raw for the same price. These were mythical cameras only 6 months ago. Raw video for $3000? Full frame video camera with E-mount?

Then we come to the GH3.

I'm happy the DSLR community has had this [i]opportunity[/i] to wake up from compressed footage, you forget we had no choice for under what it cost for a Red!

[img]http://www.eoshd.com/comments/uploads/inline/20670/503695e4cb254_ScreenShot20120823at14142PM.png[/img]

choose one image and make sure these boxes are checked, this will import all the frames as a clip.