jgharding

Many thanks! It was two shoot days, the animation was done over a few months in spare days, and the final post was another few days worth spread out. There was about 6 months between when we shot it and when we actually worked on the edit though as some other projects got in the way.

many thanks!

it was Clog, though the white balance was set manually in picture styles so it's not cinema lock. Clog with ninja gives you more room, it doesn't go mushy so quickly. Plus you get 422 out of the HDMI which is a bigger difference than the other aspects like bit-rate TBH when it comes to perceptual difference, especially if you've got a lot of red in your shots.

Also oddly enough, when I use Ninja 2 and record to DNxHD 220x (10-bit) there seems to be smoother gradation, despite the fact that it's only an 8-bit output in C100. Oddly, the DNxHD looks a bit nicer than ProRes.

10-bit would be nice, I'm sure we'll all have it in coming years. I'm just not willing to sacrifice a lot of convenience right now for a few more bit depth by using black magic cameras I'm afraid.

Do please let us know if you end up with this 4K recording limit or not, if you could.

Cheers buddy that was the drummer Garth, he's a great animator: http://vimeo.com/garthlee

I just checked out computer chess, it looks meticulously retro, I think I'll give that a watch!

I'm trying to plan a shoot in Berlin so I can come over for an extended period, so we can do it then if I can wangle it, it's such a great city...

haha cheers, check out Garth's animations for more fun, he's a great drummer AND animator, a rare thing! http://vimeo.com/garthlee

Yes it's not really authentic as such, we did start off with a look closer to Kung Fury, much softer, but it looked so fuzzy in some of the wide shots we settled on a an "impression" of VHS, a bit of the feel rather than authentic. I did actually have an old VHS ready to genuinely dub the film, but we thought better of it

I've knocked up a press release so yes we're going to throw it to a few blogs, thanks for the suggestions, I'll add em to the list.

Oh BTW I thought I'd add that this was all C100 and Ninja 2, not the AVCHD internal. It was recorded to DNxHD 220x.

Actually one shot came from the AVCHD backup, as occasionally the Ninja just doesn't trigger (about 1 in 200 times) which is a bummer. Still you'd never spot the shot so all is well...

Funny, I was ready to try Resolve or FCPx for the real-time grading, then Premiere CC2015 added the new real-time grading in the timeline with most of the camera raw style options, and I stuck with it. It's such a cat and mouse game...

I'd like 10-bit, but have been waiting so long and have gotten so used to 8-bit i keep forgetting about it.

Not all 8-bit footage is equal mind you, 8-bit C100 is great compared to some 8-bit stuff.

I wish one of the pro-sumer companies would just do a Red style compressed raw and be done with it.

I will hire this when it comes out just to shoot something at ISO 4,000,000 because that's a barrel of LOLs

This looks like a brilliant piece of kit, and great review part as always!

The whole short 4K recording thing is odd though. Is this really only Asian models? How about the US model? If I end up with a US model will i get the nice long recording times, and still be able to use PAL rates?

Thankyou both for your kind words!

On VHS grade, I suppose it's important to point out we didn't want 100% authentic, otherwise we would have simply run the film out to an old VHS! We wanted to give an impression of it while maintaining more control, resolution and colour.

In After Effects: Each clip was de-logged, and given a basic grade to look nice and cinematic with a slight film tone. Various flares and glows were stuck in for colourful effect. The master comp contained two copies of the whole film, one layer black and white and one colour, so that the colour layer could be manipulated independently of the luminance, to give some impression of the VHS style separation of colour and luminance. The whole thing is fast blurred by a pixel as it's a bit sharp straight out of camera.

The colour layer wiggles a bit all the time so that the colour separates a little. There is an overlay of 16mm film grain which also imparts a certain film tone to the piece, then a layer of real VHS chroma/luma noise blended in (sort of yellow and blue looking grunge), as well as select bits of VHS tracking white streaks, which were keyed out of a real captured VHS tape. At the top there's a partial inversion of the overall luma which serves to make a kind of technicolor over saturation which blows the skin yellow orange and pumps the colours up.

The chroma interference uses a displacement map to push the colour layer about and create the roll-down distortion. On the top are the scanlines that are made with the 'venetian blinds' plugin. On top of that are the cinemas-cope bars, since everything was shot spherical, not anamorphic.

In other words, it's lots of little tricks

*

On the subject of symbols and characters, there's several reasons we think it's all good. Firstly, rather than use real assets we've recreated our own parodies, that is to say we made them ourselves rather than taking other peoples' art. We don't use the names of any specific IP, nor do we use actual music or game-play from any other IP. Some companies have a new system of revenue share for videos directly using their IP, but it's unlikely to apply here, more to actual game-play videos or direct uses of real sprites or exact recreations with names, rather than sprites that are "inspired by" original IP.

It's possible to find parodies of popular games online with tens of millions of views, that still remain online despite including horrific violence and racism, so i think we're good as far as that's concerned, ours is a little lighter hearted: https://www.youtube.com/watch?v=G-Wn48geCJ8

Also yes, it'll probably be under most radars

I'd love one... a bit steep pricing though now Sony have spoiled us!

It's a shame that lens is so slow. I'd love to be able to be interested, but as a company they've really made it really hard to believe in them. At least this means there will be a 4K C series at some point before I die. Hey, maybe it'll do 50p or 60p. Wow!

All Ciecio7 adapters I've used have been excellent. I don't expect these to be any different. Great news!

The saddest thing about this is that Clarkson (a personal friend of the Prime Minister) managed to do this exactly when the Tories privatised another billion pounds of NHS services, and kept something that actually matters out of the papers.

Of course it'd be crazy to say it was done on suppose wouldn't it? It's a sad, sad world...

The most worrying thing for creativity recently has to be the Pharrel/Marvin Gaye ruling...

Might be a controversial choice, but at that end of the budget scale I'd be tempted to a Sony RX100 MK 2 or 3 and little vari ND.

Screw a little handle into the bottom and away you go, stabilised and easy. Very unobtrusive so people don't get intimidated. I used to use one before I had a C100.

​Looks like moire hasn't scuppered it.

Maybe I'll get and use it for everything except my brick wall montages.

(LOLZ)

I think it's just irritating that moire's an issue still, as there's not much excuse really.... but yes, this shows it can be perfectly usable for the right stuff. While this is the only good 5-axis camera, it's gonna sell a few regardless. Still a shame they couldn't quite go all the way to brilliant though...

I was genuinely planning to get this just for IBIS, even if I had to use a Ninja with it. It seems moire has scuppered it...

Maybe EM1 ii?

*sigh*

Larger formats can work some magic that smaller can't. This is because to create the equivalent DOF of 65mm film/sensor on 35mm for example, you'd need an impossibly fast lens or some kind of massive speed booster.

Truth is though, it's quite hard keeping even Super 35 in focus at apertures of f2.8 and wider.

As a result I find S35 to be the best balance between a great look and handleable focusing. I spend most of my time shooting about f4 or f2.8 on Super 35 unless it's very dark or I want the super shallow aesthetic.

​Mode 1 is unusable, mode 2 is great i think.

Mode 1 is not really necessary, if you need more stabilisation you can do it in post with Warp Stabiliser or similar and have much more control

work in 4k timeline, It's more efficient and better for final output. Warp at 4k, grade at 4K do it all at 4K, just do your final render 1080p with the maximum render quality box ticked, and render at maximum bit depth ticked.

you can still zoom to reframe and so on. 

thats the way to win

Great! I would like one yesterday

Even if you can't make it exactly the same in digital, and most of us would accept that, the gap is becoming extremely small, and won't be there soon.

One great benefit is like that of recording audio to tape: the capture medium imparts a certain quality and leaves you with less to do. Digital media are usually dead flat and make you choose everything in post, that's a lot of responsibility... Analogue media give you a bit of help by giving you a look or sound, if you treat them with care.

That said, I've never shot motion picture film, only stills just too inconvenient

For archival though i thinks it's amazing. At least a vinyl record or a film strip is a real physical thing! How wonderful!

It means after the apocalypse all the insect people can be really confused by our 5000 year old meme reels on glorious celluloid, played back at the wrong speed.

Insect men aside, perhaps the future is to capture digitally and archive to good old analogue

​If it's an OpenCL problem that may explain why i don't seem to have this issue using Cuda on PC.

​The quicktime player one there looks like the standard quicktime gamma bump to me.