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jay shay

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  1. jay shay

    Re: Unity!

    BIGGIE SMALLS - Philip Bloom TUPAC SHAKUR - Andrew Reid Two artists, same business, feuding.  We need to have a unity album...or short film, to put this beef to rest y'all. I PROPOSE... A Short Film... CO-DIRECTED by Andrew Reid and Philip Bloom CINEMATOGRAPY by Philip Bloom (GH2) and Andrew Reid (5D Mark III) I'm serious. 
  2. The info is on the company's own websites, but one that sums it up is: http://broadcastengineering.com/production/4k2k/ Read John Galt's the TRUTH ABOUT PIXELS.  Google it.  He'll lace you up on some digital game.
  3. Hey great discussion.  These are my thoughts: SONY Nobody can guarantee the future, but Andrew's pick of Sony is best bet. SONY SWITCHEROO RED with the RED-ONE and then CANON with 5D&7D were cheap alternatives to a more powerful but too pricey SONY. SONY's price has come down, CANON and RED's has gone up. SONY's camera quality has gone up, CANON and RED's has gone up too ...but not as high as SONY's. SONY F65 - PINNACLE OF VIDEO CAMERA WORLD Though priced out of our range, the F65 is the most powerful, high performing camera in the world now.  This is an objective statement over and in the following individual categories: COLOR - No other camera does 16 bit RAW.    PIXEL RESOLUTION - No other sensor has a 1:1 correspondance between sensor photosite and a pixel's R G or B value. WHAT IS TRUE 4K? I was confused by this so I asked around.  Most people just don't know and (un) intentionally spread misinformation. John Galt knows. Robert Prime knows. So now I know.  Not because I'm smart but because I finally got to ask the right people. I hope this makes it easier ignore it otherwise. In English K = 1,000 when talking about money. In English K = 1,024 when talking about the horizontal PIXEL resolution of a video image frame. Thus we understand the EOSHD post [i]BLACKMAGIC CAMERA - 2.5K for $3K?[/i] K x 4 = 4K  (1024 x 4) = 4,096 pixels along the horizontal side of the rectangular video image But this only talks about the # of horizontal pixels.  What about the # of vertical pixels? The # of vertical pixels varies....the # of horizontal pixels varies too but not as much. STANDARD                DIMENSIONS            NUMBER OF PIXELS (image) NUMBER OF PHOTOSITES (Sensor) Digital cinema 4K 4096 × 1714 = 7,020,544                          x3 = 21,051,632 Digital cinema 4K 3996 × 2160 = 8,631,360                          x3 = 25,894,080 Academy 4K         3656 × 2664 = 9,739,584                          x3 = 29,218,752 Full Aperture 4K   4096 × 3112 = 12,746,752                        x3 = 38,240,256 SO WHAT IS TRUE 4K? From the F65 to the FS700 and the ALEXA and EPIC;SCARLET in between...  TRUE 4K IMAGE DIMENSIONS ALL 4K cameras output TRUE 4K IMAGE dimensions (4,096 horizontal pixels columns x 1,714-3,112 vertical rows). NO 4K camera has a TRUE 4K sensor. Thus NONE has TRUE 4K information, just TRUE 4K dimensions. TRUE 4K SENSOR Each pixel in a 4K image is made up of a Red, Green and Blue Channel. Each photosite on any sensor converts into either a Red Green or Blue Value/Channel. Therefore a True 4K sensor has 3 photosites to 1 pixel, each dedicated to a single Red, Green and Blue value. Such a sensor does not exist...that would be a sensor with over 38,000,000 photosites.  Not yet, not yet. But the F65 comes the closest to a true 4K sensor -  20,000,000 photosites.  The Alexa ARRI has 7,462,400 photosites The Red EPIC has 13,824,000 photosites 1 actual live green photosite for every pixel.  Not 1 actual live red and blue photosite for every pixel...but more than RED or ARRI . The Green Channel the SONY F65 has TRUE 4K...not for Red and Blue but GREEN is most important. BECAUSE Green is the luminance channel.  Luminance = resolution.  What about the missing color values?  They are interpolated/guessed based on the photosites that do exist on the sensor. I wondered then....how does District 9, Social Network and other Red movies look so good if their images are fake? They are good guessers.  Interpolation isn't necessarily a bad thing. So RED Epic, ARRI Alexa and SONY F65 are all good guessers. But certainty is better than guessing. And the F65 guesses least and knows most. And the same price as the Alexa, even with the expensive SR cards accounted for.  The F65, it's insane.  Technology is catching up.  Thunderbolt is one way in which it is doing that.  Interestingly enough though Blackmagic beat it to the punch. BLACKMAGIC CAMERA You can say it's a sure thing without sounding the death knell for DSLRs guys, they aren't mutually exclusive. But it's a sure thing... - The thunderbolt  - the touch screen - the design It's  very telling of something you needn't be told to know Apple ALSO does post production - No less than BM, just a different aspect of it: NLE vs conversion & color correction. MOREOVER, Apple gets its fingers in everything.  10 years ago would you have know the iPod was a Trojan Horse gameboy and cell phone?  Why don't you ask Nintendo and Sony (Ericsson)?  What do you think they'd say? They'll come to cameras and they'll do so by either learning/copying Blackmagic Camera or co-opting them Bet on that. Gobble Gobble, the way of business.  Only unlike the animal kingdom, companies often look to get eaten.  STILL CAMERAS vs DEDICATED ONES Still, Video and Still camera in one is always going to be desirable to a lot of people so DSLRs are not dead, they are just going through a rough patch.  Concept is still sound even if the XLR inputs aren't. The mass market wants a stills camera that can take video, good or bad, they still do.  And they'll get one. And with the GH3 and a certain Russian, I'm sure that we'll at least have one for the next round and EOSHD Andrew will be afoot keeping us abreast if he isn't snatched up by some company.
  4. Great article Andrew.  Again taking the lead amongst camera blogs on the avant-garde. Just yesterday a former Apple employee returned from NAB. We talked that geeky shop that people like us talk. Wasn't long before we talked about the Blackmagic Camera. He specifically called it disruptive technology. Then I showed him (on an ipad) the eoshd.com article contrasting the various sensor sizes (Super 35, M43, Blackmagic Camera Active Imaging Size and Super 16mm).  We talked more. Our talk, and your follow-up article today spurred me to build upon your article and paint an even broader picture. Andrew in your link to DPReview, I noticed Comments/Complaints have surfaced (it is a forum after all): - it's only good for MAC. - it looks like MAC trash box with no way to hold it - Yada, yada.  Love it or hate it, the comments point to the fact that Grant Petty has copied from the best: From that American Visionary and that British Designer you so rightly mentioned. The Blackmagic Camera is the Apple Camera.  It's what Apple would have made if they made cameras. This is especially true when you see Blackmagic's website...which is a modified version of Apple's. ----Please see the attached picture---- If this Blackmagic Camera takes off, Apple will come knocking.  Clearly, they've already worked together, beating even Sony's F65 (that will come soon though and be awesome) to be the first in Thunderbolt Integration.  Thunderbolt is the key to RAW workflow, and RAW is the future.  But it's horribly complicated with layers of metadata. The current interfaces of all cameras add to the burden by doing nothing to simplify it. Even though all the pieces are there, they are not simplified and made elegant and intelligible by the end user. You know who's good at simplification of complicated gear?  Apple...and Blackmagic has followed suit. The mere existence of the Blackmagic Camera speaks volumes. If they were a boy and girl, this would be Apple and Blackmagic living together before deciding to get married. Which means it may not happen...but they are thinking about it.  The design of the camera, it's visual marketing campaign...it's the camera Apple would have made if it made cameras.. Which is why if Blackmagic Camera takes off... ...Apple will tie the knot.  Apple Computers Apple Mp3 Players Apple Phones Apple TV Apple Camera? With Apple's resources, it could be the beginning of Apple's entry into the Camera business.  Blackmagic parallel's Apple's not only in the Camera's target market but in it's selling of simplification. This is something that Canon DSLR's did not do.  - transcoding was something for which a third-party had to invent an application for goodness' sake - The process was fragmented and people were left to make their own way. As Andrew put, they landed ass-backwards into pole position but still didn't realize that they had.  Very nicely put. Now the consternating constellation of post-production will be unified.  One camera, one Mac, one thunderbolt cord. Apple was not in a position to compete with Canon in 2008-2012. Canon was bringing/converting Large CMOS sensors to the mass market via the 5D, 7D, 550D, 60D, etc... That phase has passed, Canon has made large CMOS sensors a reality at the general consumer level.  Thanks Canon, we shant soon forget you. But you have moved on... ...and Blackmagic has swooped in...with Apple's looking closely over their shoulder. This may be the year the Mayans said the world would end, but to me, it's looking more and more like the beginning of a whole new era in Cameras. Peace
  5. Hello everyone. Yet another chapter in what is perhaps the video camera industry's most dramatic year this century (thus far).  Cheers to Mr. Reid for heralding it in. The 8-Bit Color 8-Bit is really really troubling, especially for that price point.  It gives the Scarlet a foot in the door of our hearts whereas Canon could have completely swept us off our feet. To jump up to 4K and stay in 8-bit is a foolish move for Canon and an act of fradulence towards the consumer. For many of us, we saw the C1D as a competitor to the Scarlet. After all the Scarlet was delayed and redesigned to integrate the aesthetic of the Canon DSLR. The Canon DSLR in turn stole the RED's thunder (which stole the thunder of Sony and other cinema camera makers) But now we see that Canon C1D - cedes image quality (8-Bit and MJPEG...lowlight notwithstanding) to the Scarlet and FS700 + ergonomics + a full blown still mode as it doubles as a 1Dx (on paper) RED's Scarlet maintains its lead in image quality (perhaps not dynamic range) but has the disadvantage of weight and a much lesser still mode. [b]"To Buy or Not to Buy"[/b] The videophile in us all shrieks at the 8-bit color, but the camera operator in us loves the miniaturization of a professional cinema digital camera... Canon could seal the deal with a higher color coding. Nothing so extreme as the 16-bit color of the F65 which chokes the bottleneck of our current workflow. 12 would have been great.  10 acceptable.  8...unacceptable BUT, it is a 1Dx as well.  This is an engineering feat (on paper) and can justify purchasing a 4K...8-Bit video camera. [b]WHY 8-Bit? [/b]I'd love to hear your thoughts.  Some of mine were - - Lack of readiness in the Canon RAW (hence its implementation in the prototype C500). - The 8-bit is uniform to the C300 (which Andrew said Canon intends as a B-Camera) [b]B-Camera to the C300 or C500?[/b] Andrew, you said this is meant to be a B-Camera to the C300.  Certainly the C300 is an ergonomic titan and an A-Camera in comparison. But the image fidelity of the C1D is superior to the C300. Do you mean the C1D is meant to be a B-Camera to the C500? Someone who shot with it said it was difficult and was not a liberty to say much more. Whether that was the ergonomics or the post-process remains to be seen in the upcoming weeks and months. It's an exciting time we're living in ladies and gents.  One day we'll look back at it and say... ...well we'll know when we say it.
  6. Andrew, way to break the story of the FS700 on the net.  Source comes from Taiwan... Well, who better to reveal an island's secrets than another island? 4K is great.  Resolution matters.  The GH2 is a perfect example. Undoubtedly superior to any stills camera's video mode and many dedicated video cameras. I know we all appreciate the still frame grabs and video streams from different cameras that Andrew comparatively exhibits.  It's one of the unique points of this site.  Resolution matters. And at a certain point, one in the near future, resolution will cease to be the bottleneck in the push for a better image. At a certain point most cameras and display devices will exceed what the human eye can take.  Soon increased framerate will be realized and touted as the next holy grail in digital video imagery. Increased framerate will increase storage rates, but increase brightness, the integrity or stability of the Naturally, this is controversial:  30/60 is broadcast, news, it's VIDEO....24fps looks like....FILM. On most cameras today I agree with this argument.  I shoot 24 frames per second on my GH2. But need it be this way.  Is super 24 frames per second necessarily a death knell to good image quality? 24 fps was a standard designed for sound. And yet, on a phantom camera...640x480 (Remember Windows 3.x) at 2000 frames per second...looks beautiful. It is the frame rates, not the resolution, that is the true potential of the FS700.  Say I, for whatever that is worth.
  7. Hey Andrew, Thanks for all you do.  I was an early adopter of the GH2 but your blog and of course Vitaly really helped me feel secure in my choice.  It has been shot with in the wild. Canon 4K DSLR IS going to be announced at NAB. Not sure on the price except that it will be pricier than cheap. A very famous British cinematographer who I met in LA saw me with a GH2.  I ran into him again and guess what he has for his own personal use...GH2 with a 14-140mm.  Said he absolutely loves it. I gave him the address to your site.
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