avrofilmvideo

33 minutes ago, Jimmy said:

What the hell were you doing with your XT2s!?

They have at least the same DR as a GH5s and the highlight rolloff is way better. 

Whatever you are smoking , stop it. 

12 minutes ago, Jimmy said:

hahahaha... yea, not as scientific. 

By the sounds of it, he just slapped on the Eterna lut compared to hand grading the GH5.

The eterna lut on f-log handles at least 2 more stops in the highlights and shadows, if he'd just pushed around in post. 

Sounds like you are just hurt from owing two XT2s whilst having zero understanding on how to make them sing. Thankfully, for you, the GH5 is more than a capable alternative, so enjoy.

Thanks.

Do not own gh5 but d850s and fs7. Picking up two BMPC 4K this week. 

BTW it is not the only review on Internet. Pretty sure it will be right. Have been quite impressed with gh5s DR even if i do not own one. 2 of my cameramen are using it and results are very impressive.  Hoping to achieve same with Pocket Camera.

 

12 minutes ago, Django said:

FYI xt2 has always had FLOG, externally at first but then internal via firmware upgrade.

Yes eye AF is now available in video mode. The video linked in the article with the split screen shows you exactly how it works.

It isn't flawless though, you can see hunting at 0:22 and it seems a little laggy at times. 

Also don't forget this is an APS-C system with the fastest lens being the 56mm F1.2 which translates in FF DoF to a +F1.8.

Getting razor-thin DoF isn't going to be as easy as FF unless subject is standing really close

F log is there but results are not as good as GH5s.

3 hours ago, jonpais said:

Thanks for the tests, Tom. Not gonna lie though, the bokeh in those zoo shots looks pretty darn busy - not very attractive.

Absolute shocker.

First shots chroma is too high, blacks are crushed. Very unnatural images. 

Set up that camera right at least. From what i have seen so far, BMPC 4K looks so much better and GH5 looks better.

3 hours ago, Jimmy said:

Care to post a link to these tests?

The XT2 has at least 12 stops... good enough for most. XT3 should improve this further.

Sure. Had two xt2s. Worst purchase in last 2 years.  No DR . Rubbish.  Lost money on  that Fuji crap. Photos perhas, not for video.

XT3 with log will be different, better. Here is gh5 vs Fuji xt3..

Not as scientific but it shows DR.

 

3 hours ago, jonpais said:

You obviously have no

idea what you are talking about. I don’t need to provide evidence, since we’re supposed to just take your word as gospel.

Listen, 

you just a dribble out of your depth here. 

You stay where you are and learn something. You know nothing about me. I Come to Vietnam to shoot every 3-4 months, for money. And other places.

Spent last 27 years shooting for TV and broadcast, studied Film and TV at Uni. My work has been screened in Europe, USA and Australia. Have used and bought variety of cameras.  From $1k to $50k. So like i said. 6ou are out of your depth talking nonsense. 

 

7 hours ago, Andrew Reid said:

10bit Fuji-digital-film Super 35mm for £1350 is a yes from me!

Read the full article

How would you know if z6 will be better then z7? I am guessing here but z6 might be using same crap sensor as Sony a7III. My two d850 produce amazing video images and i can go to ISO64 as well. That is another difference between z7 and z6. 

Just be cause z6 has less pixels it does not give it better image in video. It is 2018 now and processors and high megapixel sensors are far more friendly for video. 

BTW, i am sure DR on xt3 is not as good as on GH5s. Saw some tests. 

Nikon z7 and new Atomos is deadly full frame combo with Nikon log under $4K.

Something I have discovered while editing all this GH4 4K material is that the 8bit codec Panasonic uses is quite complex and requires more power than ProRes. I have also found that the sequence settings and video proxy settings in Premiere are a good thing to pay attention to this time... the default ones no longer cut it.

Along the way I have found a few tricks to get the colours in GH4 footage to absolutely sing with Film Convert and Premiere using the Alexa Rec 709 profile.

Read the full article here

 

Too much contrast and too much red,pink. Need PRO Grader on smoke* ;-)

You're like the guy at the first space shuttle launch who turned around half way through and said "ah seen enough, give me my dinner" and went home.

 

I bet on the way home you were muttering to yourself saying "ah who needs spaceships when you have a car".

 

 

 

 

 

No - I am the Guy who makes $100,000-150,000 from paid video productions.;-))

 

So why do you need RAW?

What exactly do you produce to make living apart from weekly tests(for which we are all grateful ;-)?

Is there any feature film i missed from you. What it it you actually hope to achieve with raw? 

'will you have your name in PROMETHEUS 2 trailer"

RAW is very handy for High End and i really mean HIGH END.

Unless it is the Market YOU yes YOU are involved in,then i understand it- but if you are in High End, then the $$$$ you get paid on weekly basis should be enough to buy 10 Epics ;-)))

...but if it is a hobby, then go ahead and get .............................

Who needs RAW...
4::2:2 1920-1080/50p is more logical with peaking.

http://philipbloom.net/2013/05/16/4kraw/

Peakin feature is not usable.
I do not need RAW. i need reliable 4:2:2 codec internal/ external. ;-). (50P/1920-1080). I will donate $100 for this feature with broadcast peking.
Please provide usable Peaking..

Do you really want more?

Peaking,hdmi 50p out, 1920-1080 / 50p 4:2:2. This wil do but did i mention PEAKING.

Sachtler watch out.

Regarding ML 5d mk3 firware. Can they make peaking usable. Current one is unusable.
Also patch for 1.2.1 canon firmware would be handy. They should concentrate 100% on 5d mk3 only and not waste time on other camera...

Some sophisticated "fluid head" under that "raw camera" ;-)))

Where do you get DOWNLOAD LINK to this latest Firmware from ML for Canon 5d markiii?

I can no longer use ML old software with latest Canon 1.2.1 Firmware.

Please advice what to do ;-)

Huge thanks go to A1ex, g3gg0, 1% and the whole Magic Lantern team.

I have no other words to describe it - this is huge news.

Magic Lantern have done the seemingly impossible and given us a continuous raw recording mode on the Canon 5D Mark III. Once activated in the menus the 5D Mark III becomes essentially a full frame Blackmagic Cinema Camera and amazingly mine has not yet exploded. No more short bursts of raw, this is the real thing.

Read the full article here

 

Where do you get DOWNLOAD LINK to this latest Firmware from ML for Canon 5d markiii?

I can no longer use ML old software with latest Canon 1.2.1 Firmware.

Please advice what to do ;-)

Discontinue  C300 and C500.

C500 and C300 was Nuked by F5/55.

REBATCH c500 for c301(haha) and sell it for $10,000....

Make out of the New Canon 7D new Cinema Canon EOS c7DC and sell it for $4,000. make it 4:2:2 and 2k only.

 

p.s. Please Canon send me $10,000 for my advice ;-)

 

That was in a different CR post.

 

"Canon will be announcing new cinema lenses and a new cinema camera for NAB 2013 we are told. The camera will sit somewhere between the EOS C100 and EOS C300, but will not be a direct replacement for the EOS C100. It will have both a PL and EF mount option. At present, no specifications for the camera have been given. Canon may also show a prototype that would come above the C500, but apparently that has yet to be decided internally."

 

http://www.canonrumors.com/2013/02/new-cinema-camera-lenses-for-nab-2013

 

I don't think it is possible to fit something in-between the C100 and C300 since they are already so close, so for me the C50 rumour is more plausible.

I am blown away by the image, but this statement is so true. The 2.3x crop factor is a huge draw back that very few BMC fans boys mention. 2 weeks ago, I shot a music video that took place primarily in a car. We had to use a Tokina 11-16 on an FS700. On the 16mm end, it was tough to fit both people in. With a 2.3x crop factor, it would have been impossible to get those shots. I'm not a wide angle shooter at all, in fact I generally prefer longer lenses. With that said, there have been numerous times where I had to pop on the Tokina 11-16 or else the shot just would not have worked because of crazy tight spaces.
 
I think the real revolution will come when BMC comes out with the Super 35mm version with some higher frame rates. Then the S#!T will really hit the fan. But this camera is an great start. 
 
After using the FS700 with it's high frame rates which is amazing for projects like music videos, artistic pieces, B-Roll for docs and sports, I just cannot go back to a camera that only shoots 24fps, which is fine for narrative, but 24fps is just too limiting once you've had a taste of high frame rates and the amazing drama and sexiness that is created, especially when done correctly and not gratuitously. 
 
For me, I would gladly sacrifice some image IQ for a super 35mm or wider sensor and high frame rates.

Lenses make images.
Unfortunatelly since there is no decent wide end option - thats it. Full frame or s35 give you better creative options. I do not need raw. 1dc rules.

I agree Andrew ...

Most Hollywood Motion Pictures don't shoot past T3.5 or T2.8 as the dof is so shallow the actors are in and out of focus too much and the Director has to do multiple takes to get a usable pass ,

this takes more time and costs more money.

If you read up on all the great Cinematographers they all tend to offer this opinion .

I just read Cinematographer Freddie Young's Biography (he shot Lawrence of Arabia , Ryan's Daughter, Passage To India, Dr Zhivargo etc etc for Director David Lean)

He states he didn't like shooting past T3.5 for this reason.

Citizen Kane was shot 'Deep Focus' all around T11 - T22 ....everything in focus!! this required a huge amount of light on set just to get this look!!

By the way-When were those movies made? :-)

<<Most Hollywood Motion Pictures don't shoot past T3.5 or T2.8 as the dof is so shallow the actors are in and out of focus too much and the Director has to do multiple takes to get a usable pass ,
this takes more time and costs more money.
If you read up on all the great Cinematographers they all tend to offer this opinion .
I just read Cinematographer Freddie Young's Biography (he shot Lawrence of Arabia , Ryan's Daughter, Passage To India, Dr Zhivargo etc etc for Director David Lean)
He states he didn't like shooting past T3.5 for this reason.

Citizen Kane was shot 'Deep Focus' all around T11 - T22 ....everything in focus!! this required a huge amount of light on set just to get this look!!>>

If we follow this logic, we will never fly to the moon and we will never buy Zeiss MASTER Primes ;-)Why not to have T1.0 lens in your arsenal and use it sometimes 100%. People forget LENSES are PICTURES as well.
Just make sure you RAW 4:4:4 editors have decent editing System built for this camera..

The 1D C in my opinion looks very nice.

But it is $12,999 (maybe even $15,000?) and that is the problem. The Blackmagic is $3000. Shoots 12bit raw. You may have heard of it :)/>

I have full set of Zeiss ZE PRIMES.
I do not want to cripple them. I make good money so i paid $12,500 for it. No problem.
I do not need RAW 4:2:2 I ned nice organic look on internet.

Well after testing fs700 and c300 and c100 i bought Canon 1dc yesterday. A trully visionary camera.

[quote name='bwhitz' timestamp='1351214013' post='20325']
You don't NEED more than a T2i really to do anything of substance. Hell, you don't even need that. The point is that spec/price ratio is completely out of balance. Drawing logic from other cameras price/performance ratio (BMCC, GoPro, GH3) a C100 even WITH 60fps in 1080p is only worth about $1500... IF THAT.

It's not that a C100 can't be used for anything... it's a question of why?
Why shoot to an external recorder when the technology exists for internal RAW recording at $3000?
Why shoot to a GARBAGE 24mb/s AVCHD codec... when there are hybrids like the GH3 that are capable of 80mb/s Intra-frame recording for 1/5 the cost?
Why is there no 60fps in even 720p when $400 toys like the GP3 can do 120fps?
And then, if you can afford the $6000 investment, why not just spend a teeny-bit more and go for the FS700 and get yourself a mind-boggling more flexible camera in terms of frame-rates and res-output?

You have to be a blind, non-critical thinker, who's terrible with money/investments, to even entertain the idea of a C100 purchase for more than 3 seconds. It's only appeal, is to the older "professional" elite crowd, that still thinks "bigger cameras" make them seem more professional... and the extreme-newbies who came into cinematography in the last year and think everything must be shot on canon cameras. It's a joke.

For under $5k I can get a BMCC and a GH3 that will allow me to record high-quality 2.5k 13-stop footage, to EITHER RAW or ProRes, up to 30fps... AND an amazing B/Utility-cam, that get's me great quality 60fps footage and allows for a lighter/quicker setup for certain jobs.

For $6k in canon's "pro" world, I get ONE camera that maxes out at 30fps, has lower than cell-phone quality AVCHD at a measly 24mb/s rate... and... well, that about it.

It's a no brainier to any sane individual. The only reason I'm being so aggressive about it, is because supporting terribly spec'ed cameras from canon just creates slower, more stagnation, in the industry. We need to be moving forward, not applauding them for a camera that should have been available 8 year ago. People need to stop this elitist-ego driven "well if you do REAL work, you can afford it" attitude. It's getting real old, and it's an emotional-ego driven argument, not a logical one.



Well, you know what... to me, I DO need these things... and it's up to INDIVIDUALS to decide this. Not industry unions, not "pros", not anyone. I don't just shoot corporate interview and promo pieces. I'd like to PUSH the boundaries of what's artistically possible of myself, as well as my equipment. And when done right, this can lead to MANY more opportunities and higher-paying jobs than those who are shooting "standard" projects because they don't feel like anyone "needs" to make anything better. There is NO QUESTION that the flexibility of higher-frame rates and RAW coloring can potentially push my pieces above and beyond what most people feel the "standard" is.

In the end, I think people are just afraid of the competition, and are desperately trying to standardize these sub-standard tools in order to control competition.
[/quote]

Firstly let me tell you are IDIOT.
Secondly why?
Answer this for yourself if you are NOT!

Thanks for interview.
But it really did not explain anything. Mr Burnhill was dodging questions...anyway WHY there is no internal 4:2:2 recording in Full HD/2K if there is in 4K.??
Why was NOT bottom part of camera(holding batteries) redesigned to accomodate XLR/SDI inputs.
If this is High End camera why no peaking if ML has got it.
For that money i will start saving for NEW F3.

[quote name='Simco123' timestamp='1349044212' post='19263']


Which rock did you crawled out of? <_<

Most of their products are made in China DH
[/quote]

[quote name='Simco123' timestamp='1348949196' post='19199']
Late October for BMC to arrive? You are an optimist :rolleyes:
They are only now expecting some shipment of sensors and havent even started manufacturing. Remember it is Australia we are talking about not China, they don't work at speed over there.
[/quote]

So you think camera is actually manufactured in Australia?

[quote name='gene_can_sing' timestamp='1348203964' post='18789']
I totally agree with TC. Canon is just out to take people for a ride and take their money and they are ALIENATING their customers big time. I used to be a huge Canon fanboy, but not anymore. Can't take the feeling of being ripped off anymore. The firmware deal just further confirms that feeling. I mean... the 1DX is around 7K and the 1DC is suppose to be 15K? That's paying 8K for a firmware update. Just crazy.... I can't believe anyone would support something like that.
[/quote]

Read my lips-$11,000