Ernesto Mantaras

I hate it when they do (lame) product demos and call it short films, then it's neither one or the other in the end.
This "short" was terribly staged, camera was all over the place, crossing the line shot after shot, poor composition... if they had just done an objective and carefully planned demo they'd have spent their money better, but I guess they were paying for the Laforet hype and publicity, not for a good short film.
 
This equipment is welcome and I'm sure it will find its use, its price is not expensive for high end film making, but in order to be revolutionary as they're trying to make it, it would have to cost a fraction of that.

It is silly to be cynical about something because of how badly people might use it!
 
I am sure when space travel becomes a cheap practical reality, people will be moaning about all those wannabe Captain Spocks flying around with their warp drives bumping into Mars. Who cares.
 
The creativity and freedom to move the camera this thing gives us is enormous!
 
And it is not all about 10 minute tracking shots. Subtle moves and pans / tilts are going to be common uses too. A tripod is so very yesterday.
 
The MoVI is very similar to the 5D Mark II, it allows a talent to fly. Without talent and creative ideas it is nothing, same with the cameras.

The 5D was a gamechanger not because it allowed shallow DoF. 35mm adapters also allowed this. It was a gamechanger because all of a sudden thousands of aspiring hobbyists deemed themselves indie filmmakers. A specific look that was - adequately or not - associated with 'cinema' now was affordable (and manageable, because the mentioned  35mm adapters were a pain in the ass, bulky and swallowing light).
 
Did the change bear any fruit?
 
First of all, very many terrible DSLR shots. But also a few very interesting ones.
 
The 5D fulfilled the promise that everybody could shoot attractive video on no budget. And some really did.  
 
This Mōvi (at a price of, say, 2000 bucks) would lead to dramaturgically unmotivated steady shots in heaps. Just as DSLRs led to 99,9% self-related focus transitions and attempts to blur the banality of the motifs. And I don't favor helicopters over cats.
 
None of the steady shots would change the quality of low budget films at all. It causes us to believe we need yet another gyro gizmo before we can express ourselves. It is a change-delayer.

Maybe a really huge Philip Bloom signature sand bag that lets you shape an entire film set out of it with just a few pumps?

I can only assume Canon fired all their engineers and scientists in 2008 and have employed only people in marketing since then. There is no other explanation.

An early self portrait of the young Stanley Kubrick, photographer - Image source: British Journal of Photography

In a 77 minute interview recorded over chess between takes on 2001: A Space Odyssey in the mid 1960's Kubrick describes selling his first photograph, his first short and making his first feature.

At this time, the plugin does not work in After Effects because it does not follow the "Smart Render" requirements.  This is a feature that is used to speed up rendering, and I could possibly implement it in the future.  As of right now, it's limited to:
Premiere only; 8bit colour only; OS X only; However, I plan on addressing each of these issues.  I have also come up with an idea of how to improve its performance.  Right now, my priority is to get it working with 32 bit colour.  That way, if there are any professionals out there who want to give it a try, they can let me know how good/useful it really is.
 
@charlie_orozco I'll make a public post when I have a Windows version up and running so stay tuned.

It's becoming harder for full frame photographic cameras to compete with dedicated video cameras.
 
Once F0.95 on full frame was unique for video.
 
Now with the Metabones Speed Booster I am shooting with the FS100 at F1.0 on an almost full frame imaging circle.
 
I think Leica need to be careful - if the video quality is sub-par then it shouldn't be on the camera AT ALL. Don't just bolt it on because they can. Leica's whole business depends on delivering the best possible image.
 
Video is very hard to get right on such a heavily photographic orientated product. The sensor and image processor just don't seem optimised for both.

http://vimeo.com/59920628
 
...I did all the "digital opticals", the glows and FX related to how slick their skater helps make your footage, lol.  My specialty usually swings more towards the photo-real, natural phenomenon stuff but I love these sorts of old school, optical printer style effects that I grew up loving as a kid.  
 
They've always been a challenge to do, well at least, digitally but now that After Effects has both a 32bit workflow with, more importantly, linear-light colorspace, they're far, far easier to accomplish effectively.
 
Anyway, the spot is fun.  They should be posting the second spot Paul and I did any time now, for their Cine Squid this time.

I have this in action now, after a bit of customisation (and help from 3M's wonderful sticky things) I've got myself up and running without too much hassle. Dual focus is not as impractical as I thought now I'm actually using it! Takes some practice to get the best from lenses though.

The orange flares from mine are awesome. It has a purple multi-coat, but still flares in a special way. Expect some footage soon!

Weird isn't it... The BMCC's sharpness and dynamic range seems to work against it in this comparison.
 
It just seems too smooth and broadcast like.
 
The Ikonoskop is a bit quirky and not just when it comes to the image, which is why I love it.
 
But it is VERY hard to put your finger on exactly WHY the image is so cinematic.
 
We used a very nice Zeiss 16mm lens on it which will contribute, but the colour and feel of the image is mainly down to the camera.

The Schneider has a small knurled  knob on the front you turn to focus
it is very very smooth and precise - great German engineering .
The glass is the best I have ever seen in an anamorphic - a different league to anything out there.

You turn the round knob in front.  There was a discussion about this lens a while ago with bigger pictures of it, too: http://www.eoshd.com/comments/topic/1352-schneider-kreuznach-anamorphic-projector-lens/

Dope!

Hi! The band I made this video for finally released it and I'm very happy, so I wanted to share it with you guys.
 
It was a lot of work and it's not without its flaws, but considering the crew (three people including me apart from the make-up artist) and the time we had it came out quite decent.
 
Please tell me what you think!
 
http://www.youtube.com/watch?v=YhqTsAmPYYs
 
By the way, I shot it with the Driftwood Apocalypse Now! 6GOP Nebula patch, and the lenses I used were:
 
· Rokinon 28mm f2.8
· Minolta MD 50mm f1.7
· Minolta MD 135mm f2.8
 
If you have any questions just ask!

I'd be upset if a $700 was this close to the $3000 one for video as well!

Even more impressive. My hat is off to you. That was a real feat to tackle all of that and come out with a product this good. Congratulations! 

Hi! The band I made this video for finally released it and I'm very happy, so I wanted to share it with you guys.
 
It was a lot of work and it's not without its flaws, but considering the crew (three people including me apart from the make-up artist) and the time we had it came out quite decent.
 
Please tell me what you think!
 
http://www.youtube.com/watch?v=YhqTsAmPYYs
 
By the way, I shot it with the Driftwood Apocalypse Now! 6GOP Nebula patch, and the lenses I used were:
 
· Rokinon 28mm f2.8
· Minolta MD 50mm f1.7
· Minolta MD 135mm f2.8
 
If you have any questions just ask!

Hi! The band I made this video for finally released it and I'm very happy, so I wanted to share it with you guys.
 
It was a lot of work and it's not without its flaws, but considering the crew (three people including me apart from the make-up artist) and the time we had it came out quite decent.
 
Please tell me what you think!
 
http://www.youtube.com/watch?v=YhqTsAmPYYs
 
By the way, I shot it with the Driftwood Apocalypse Now! 6GOP Nebula patch, and the lenses I used were:
 
· Rokinon 28mm f2.8
· Minolta MD 50mm f1.7
· Minolta MD 135mm f2.8
 
If you have any questions just ask!

Please reserve judgement on the GH3 until my final review next week. One bad test result doesn't make a season :)
 
PS - nice signature Charlie.

Neither does the Nikon unless you invest in Nikon glass!

I bet you used all pre-production tools of the trade, storyboards, moodboards, production design planning. What else?

Very impressing.

Very nice stuff. 

Jaw dropping. It's the best thing i've seen posted in a long time.  No joke. This shit is primetime. 

We're testing the BMCC and the R1MX for an car advertising. The BMCC will be used on the car rig. From the first images coming from both cameras, It's safe to say you can mix footage with not much effort, but one thing I must say: You better prepare your pockets for Hard drives if you want the full potential of this cam. Man!! For us, it's better to work with red footage to keep the storage low.
It's just massive how big the files are (pictures).
 
Our editor liked BMC footy, great DR! but it's had to edit without proxys... Red is a breeze compared.
It's a good "$3000" camera, but you'll need hard drives, lots of them and a powerful machine to handle it or go proxy every time.
 
I'm a red user for some months, but BMCC is a great little gem. I still prefer the RED MX image, but it's big and clumsy. BMCC is small compared and it delivers a great image. It's a huge step for everyone coming from a DSLR. It's like jumping a canyon!
 
 I'm curious what BM will do on the next versions of this camera in the future.