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jgharding

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jgharding last won the day on July 30 2016

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About jgharding

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    Director, Harding & Brookes - Creative Digital Agency

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  1. He means put the lens on a dumb adapter, then that onto the speedbooster, which sorts the issue out. I don't understand what you're saying here...
  2. jgharding

    Blackmagic raw - revolutionary?

    It's great to have another RedCode style codec coming out. They need to be open with it. Get it in some other cameras... dominate that sector with licensing
  3. Cheers, glad to see it is just the chip ive already ordered some dumb adapters BTW how does one programme such a chip? I never worked that out...
  4. In addition to what I asked about adapters, yes this is also a question. if such an option exists I can’t find it...
  5. Hi all, I've come quite late to the GH5 party so sorry if this is common knowledge: I have M42 to EF adapters I use on Canon bodies that have AF confirm chips. When I attach these to the Speedbooster Ultra on the GH5 get a "lens attachment failed" message. It doesn't appear to have a manual "shoot without lens" option either, I just get a black screen. But if i don't fully connect the lens I can shoot fine, I'm guessing chip-free dumb adaptors will sort this?
  6. this is an interesting point. it depends on your definition of "technologies". Sony certainly innovate, and are always coming up with variations in technology, image processing, sensor and memory architecture, absolutely ingenious things every single year that definitely push the boundary of what's possible technologically in terms of size and speed... in terms of innovation, I don't think anyone matches them. But people don't watch innovation on a screen, and they don't want it getting in the way of a production. Each new Sony camera is full of bizarre processing with crazy acronyms, layers and layers of menus and so on, and the colour is still never very good, it usually feels cool and sharp and a little soul-less. Even the top line and indeed innovative f65 had a very cold and sharp look to it. Check out Oblivion, that's all i Know was shot on it. And they only used it because clinical detail was part of the brief. Arri may not have reinvented the wheel, but they made a beautiful sensor designed to have grain and response as close as possible to film. They focussed on beating film and making a direct digital replacement for it. Sure, around that sensor is a tank-like box that eats giant batteries like M&Ms, but once you get the footage back you don't care. That dual-gain architecture makes it SO clean and gives it insane range. You can pull in Log ProRes 422 from an Amira and you'll probably prefer it to your Red footage, raw or no raw, as I always did. It seemed to have more usable skintone range and nicer colour even when very compressed. And controlling it is so easy. They focused on a simple interface and the image that ends up on screen, not on the spec sheet, and not on selling you a new one every year. http://www.arri.com/camera/alexa/tools/alexa_camera_simulator/ I've just realised I'm on the verge of sounding like an unbearable Arri fanboi but really I'm only loyal to a great image. I wouldn't want to run around all day with one too often, though i have... the GH5 is my new fave
  7. I think the main thing holding this back from an Arri is the same thing that stops McLaren making a competitor to the Mazda MX5, for example: the company live at the edge of top-end technology, that is what they're know for and what (in Arri's case) they dominate. They thrive in the pro sector, hold some great patents (like the dual-gain channel sensor architecture in Alexa family cameras) that set them ahead, and they would only open themselves up to un-necessary risk by producing a high-volume consumer/prosumer piece. as volume goes up, quality control becomes increasingly difficult, your equipment reaches the hands of those prone to user error, sometimes even total beginners. you have tighter profit margins, have to deal with distribution and sales channels on a far larger scale, along with all the attendant legal and logistic expenses and staffing costs. the personal touch you have when dealing with higher-end clients simply disappears. It's very expensive and time-consuming to bring a product like that to market. Think of just how many mis-steps Blackmagic Design had with their cameras along the way... if you don't know about that, i wouldn't waste time reading up, but a lot of models had problems at launch. I mean I love em, and they did an amazing job coming from nowhere in that market, but they learned in public and as a result a lot of pros won't touch their prosumer line. And they already has a vast distribution and manufacturing network and so on. TBH I don't think Arri need to. I feel RED may be another question... talking to hire companies, Arri and Canon dominate, with a smattering of GH5 and Sony for budget high speed. Technology companies have to react to the market quickly, or else it's curtains. Disclosure: I used to have a Red and sold it for a C200. Convenience won! If we don't use that, we hire Arri.
  8. I do wonder what sector this is aimed at. 10,000 is way more than a GH5, which is more than enough for your average Joe and great on professional shoots as is. We are about to buy one as a C-Cam, since nothing I've seen touches it in the price range, though the new Fuji announcement looks interesting. If you're renting, an Alexa Mini or current Red can be pretty stripped down and inexpensive in budget terms. If you don't have the money to rent for shoots, well the 10,000 camera is probably too expensive for you to buy! so it goes round in circles. Maybe crash cam? Abit much for that too... TBH I think Red had to seriously rethink, since at the top end they're being wiped out by Arri. In fact even in the mid range now, we've hired Arri Amira for web videos. After the Alexa mini came out a lot of people just stopped flying Reds on steadicam/gimabl settups overnight. Now Arri have a "genuine" 4K acquisition camera in the Alexa LF, that protectionist excuse used by Netflix and so on to stop people from using Arri, that is "it has to be native 4K regardless of how it looks, the number is king" is dead in the water. Don't get me wrong, r3D is still the best raw codec ever, and I think this will be undeniably cool if it ever happens... I just sort of question... what it's for... and thus where i'd find a use for it. I think if it doesn't have full IBIS and so on like GH5, I can't conjure up a use case off the top of my head. I think RED should start licensing R3D now TBH, instead of holding onto it forever while other people overtake in other areas. Don't become SEGA.
  9. jgharding

    RED RAVEN. Only available in Apple Store.

    *WHOOPS, HIGH-FIVES, GETS ANOTHER TRIBAL TATTOO AND NEW SNAPBACK CAP*
  10. jgharding

    Used Canon 1DC

    Tiny fanless camera with ProRes and RAW to SD cards, released in 2013:
  11. yeah it is only if your directly working with them to produce a piece or series, It stills seems oddly political though
  12. Not allowing the Amira and standard Alexa is straight up moronic. The upscaled 4K in it thrashes the pants of plenty of native 4K sensors in terms of look and detail. I've had them side by side plenty of times. Looking through the list and numbers and so on, the word that comes to mind is "arbitrary" Also demanding Alexa 65 with Arriraw as the only acceptable Arri format when nearly every feature film is shot on Arri... and plenty on Alexa ProRes... it seems more like a political alliance with other manufacturers against Arri dominance than much else. Which is silly, they're dominant because their product is the best. Thought the Varicam is arguablly as good if it gets the uptake.
  13. jgharding

    Canon C200 Philip Bloom Review

    Oh I forgot to say, the codec gap was the first thing I asked the Canon rep at a trade show, and he said they were planning to introduce XF-AVC in a future update, but he had no details. Lack of a 4:2:2 10-bit option is annoying Well I used the C100 mk i for three years with no issues. I think it makes great looking footage and is easy to use. I have an XC10 but I'd pick the C100 mk ii over it by a long shot TBH. All depends on your priorities.
  14. jgharding

    Canon C200 Philip Bloom Review

    The GH5 does look great though. I'd quite like one too TBH
  15. jgharding

    Canon C200 Philip Bloom Review

    Just a joke really, some people do get quite protective over gear. I'm brand agnostic as long as it does the job...
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