lafilm

14 minutes ago, amsh89es335 said:

Rolling shutter super high on it. I can't stand it and the dynamic range is low. Granted the images are nice and which  I wish canon would push further with these instead of walking away. but I also need slow motion of at least 60p. Clients keep asking for it, and my personal projects are mostly music videos which are a must have. And the A7rII 60p is a huge let down with so much noise. Sharp, but moire, aliasing and lots of noise at 800 iso and up. 

Please trust me on this. After viewing hours and hours of 1DC footage, and seeing how people view it, not ONE person has ever commented on any RS issues on the 1D C.

Even in the cinema.

It's better than the Sonys, and the cadence helps enormously.

As far as amazing 4K  60p goes?

Boom.

Yea, i cheated on the last video I posted

This is the Canon 1D X  (Part 2)

Goes on sell,  in six weeks (April, 2016)

We're now coming in to Spring 2016.

The answer is YES.

Bump.

FWI,  this lens is the sharpest 35mm I have used. Perfect for stills or video. No issues. (no IS however and expensive).  

Sony users take note with the in body.

17 minutes ago, amsh89es335 said:

Also I am not saying the D750 is the best camera ever. But I am talking about in the low end under a few thousands for small productions or run n gun being super reliable with the least amount of headaches and clean slow motion (for low budget music videos on a 3 axis gimbal). And whish we would demand more of this instead of asking for higher resolution before giving a better overall image and camera first. 

Im aware you can't rent high end cinema lenses for it, but why would you rent $100,000k worth of lenses on a shoot that can't afford more than a $2000-3000 camera that has rolling shutter worst than a 5D mk ii and a long list of other issues. I also collect Nikon ais manual lenses and use them on all my low budget projects and adapt them to alot of cameras so I guess the level of work my Nikon D750 is for this isn't an issue for me. Beyond high-end cinema lenses, Zies cp2, Samyang, all third party DSLR lenses all sell Nikon versions. So besides Canon lenses and other old slr lenses what can a 5D have that a Nikon can't? Can't add a PL lens on either anyways. Granted rental house will only carry EF mount so there is that issue because of supply and demand. By like I said why bother with lenes 10 times the price of the camera. When that budget is already so small it should be put into lighting and production value. 

My experience as a DP and camera operator has been with all the REDs, Alexa, FS7 at my work (don't get me started on its quirks), C300, 7D, 5D Mk ii, 5D Mk iii ML RAW( which I miss having that image quailty but software kept crashing on shoots it's a shame Canon won't venture into that). 

Sorry I'm rambelling on because I am just getting fed up of wasting time and money with the hype on these new spec and ignore solving the problems with the last generation of cameras and we are not pushing back on camera manufactures enough and  just say oh well let's just deal with our footage is super janky. When photographers only need to get a 5D every 6 years and do lots of professional work while our world you buy any price camera and 2 months later it's so outdated and people in Los Angeles for example are asking for you to bring a cinema camera that isnt even out yet but herd the hype. Then when you use it and your producer ask why does it look like that? Why are there iusses with it? Why is there so much rolling shutter. Why is there so much judder. Why is the colors look so bad it's not the camera the DP sucks I here this some many time from various producers and directors about many DPs. And because of the hype they hear these cameras are 4k and awsome and will look like a red or Alexa for cheap and won't listen to the details of why these cameras have issues and keep blaming the DP. 

Are you talking slightly green. I'm talking the camera will give met a error message and go as far green as possible and refuse to white balance on anything. To fix it I just have to keep trying and hope it won't act up or just dial in the tempature as close as I can guess. 

Forget about an Alexa or mini Alexa or the new high end cine camera from Panasonic.

You want a great cinema looking 4K camera that has amazing colors, great motion cadence, perfect white balance, small and unobtrusive, with awesome lens options (cheap or expensive).

A camera your producers or clients or buddies will watch the footage and be blown away.

And you can blow it up on a 65 foot screen and fool people it was shot on film.

Problems solved. For only $6,000 bucks (US) !!!

My friend, pick yourself up a Canon 1D C. 

On February 19, 2016 at 3:05 PM, DPStewart said:

Your position seems extreme...but it's not wrong.

The biggest problem is people FEELING ENTITLED to take and spread YOUR product for free.

If the ONLY way for you to not get totally robbed is to lock it down, then LOCK IT DOWN.

The ego stroke of 10,000 people seeing your movie won't put a dime back in your pocket for your next one.
But only 1,000 actually paying to stream it will.

The choice is up to each individual.
 

DPStewart t I agree with you. Even 50k is too much money to lose to some hacker, film festival judge, or Amazon.

As you say, at this time filmmakers (especially ones using their OWN money) have TO LOCK IT DOWN.

8 hours ago, amsh89es335 said:

I just sold my A7rii today. After having it for a few months I had nothing but huge headaches. I did many test with a 4k video devices recorder. Besides the worst rolling shutter I've ever seen no one seems to be talking about the horrible judder when panning. At first I thought it was just I'm shooting in 24p and viewing on a computer monitor at 60hrz. But further test in every setting, shutter speed and frame rate seem to have far more than every other camera I've shot with. Another problem is in 60p and 24p 1080 the noise level is bad. I also kept getting bad moire and aliasing in full frame 4k and 1080p especially in the highlights.

Granted as a small compact photo camera it's frickin pretty awesome. But for video the image only looks good in crop mode 4k and as soon as it moves or things in it moves it falls apart. I barely took it on a shoot because of how much testing I had to figure out before I felt comfortable with all its down sides. And is not worth it.

I went back to my Nikon D750 with a external recorder for now until I decided what to get next, but even though the 1080p image is softer everything else is far better. Rolling shutter very little. Noise level very clean upto 6400. Slow motion just as good as the 24p and very smooth. Color science far better. Dynamic range little less. Post with it is super easy. It's a shame this camera has gotten no attention, but it such a reliable camera its what we wanted out of the 5D Mk iii but quickly forgot about with all the 4k cameras that just keep adding more new problems, headaches, time and money all for the sake to say its 4k.

Couldn't you use a program in post? One that fixes the "Judder" (motion cadence) problem? Say in Premeire or FCP or Davinci? 

I believe it would help tremendously on those 24fps/50 shutter Panning shots.

Interesting discussion. Thanks to everyone for replying.

I have to say some of the responses are shocking. I would think (certain) filmmakers wouldn't be so callous towards piracy. But I respect the right to your opinion even if I disagree. I will continue to believe piracy is a serious crime. Yes, tentpole movies and sequels will still make a profit, but we're all indie guys, right?

Let's really break this down so everyone can understand in simple terms.

Maybe Zack or Ed or Silvertone's director friend can chime in based on their (and future) experiences, but it seems the overwhelming attitude to combat the issue of piracy (smartest?) is to:

1. Do not submit your movie to any film festival. No matter what. Distribute your project quickly to get paid,  forget about glowing reviews from festivals and ego hand claps from festival attendees.

2. Do not send out any screener copies to heads of distribution companies, or film festival judges under any circumstances. (or your best friend or your mother).

3. Do not use ITunes, Amazon, YouTube, or Netflix (at least right away) because anyone can copy your film there and upload it for free. 

4. Do not make any DVD's/Blu rays, because again, people will rip those discs and upload them for free.

5. Do not go to any show (Comic con, etc..) and hand out or sell screeners of your movie. Because again, they will get ripped.

6. Be very careful where you do your post production. Why? Because in theory (and truth from on-line stories) a person working at a post house can rip off your digital files rather easily. No? Makes logical sense to me. Edit at your own home? Hmmm..

7. Do not trust a motherfucking sole (soul).

So at this rate maybe we should just discuss the art of self distribution (STREAMING) on your own personal website, or a website created for distribution.

I know a nightmare unto itself, but maybe the only way to keep your profit and your sanity. 

Are these all paranoid conspiracy theories?

I don't know, but listening to these film guys who have been pirated, and how they have lost $250 grand (and possibly more) and 3 years of their lives (possibly more) makes you want to contemplate suicide (they certainly have) .

VHX anyone?

http://tinyurl.com/jdeexz7

Film Piracy. The two dreaded words to filmmakers. Is it even worth it these days?

Look at this shocking information.

http://www.culturalweekly.com/sundance-infographic-2016-ample-distribution-paltry-deals-and-the-cost-of-piracy/

Imagine plunking down $100k - 500k for your film. Piracy happens.

Your film is all over the Internet for FREE before you even leave the festival you got into. Careers ruined. Money and time gone forever.

How do you stop it? 

Hope for a big buy out from a major distributor? (Not likely)

Pray the piracy doesent happen to you (not likely)

Keep the budget so far down for your feature film (50k or less) that it doesent matter? (Possibility)

Listen to this interview with a fairly known horror director whose life was ruined:

http://tinyurl.com/hfxuwqt

Another post that questions is it worth shooting a feature film?

http://tinyurl.com/jolx4wh

And another:

http://tinyurl.com/h7p72yq

Scary and grim facts for independent filmmaker working today.

A lot of the main sources are now reporting the 4K at 60p. Will know for sure within 3 weeks. That being said, the video quality alone still may not match the Canon 1D C (500 motion jpeg).

I agree with this. The 1DC captures absolutely beautiful images. It's really inarguable. The video quality from the 1DC will still be relevant 5 years from now. I understand the price turns people off and no dedicated focusing features. But at the end of the day it comes down to gorgeous 24 fps motion and man does it look good. Even without using the log feature, the colors the cam produces are still true to life.

Thanks araucaria for the feedback. I appreciate it.

Thanks sandro, got it.

jhnkng, that did it! Thank you very much!!

Thanks Andrew. I appreciate your feedback. jhnkng suggestion worked. Fortunately was able to fix the problem. 

Franz, thanks for your response. Yes, it's a no go with eos movie utility. You would think that it would work, but it does not. Unfortunately. Hopefully someone out there has made a similar mistake and was able to open up there locked video files. I cannot seem to find anything on this on the Internet. Perhaps someone on this forum? Thanks 

I have a tech question if anyone here can help. We "locked" some video files on the Canon 1DC dslr, (for safety) and forgot to "unlock" the video clips in the camera, before we downloaded into Premeire Pro.

Now, in Premeire Pro, the files are locked and we cannot edit them.

Of course the original CF cards have been swiped, so no going back.

Is there a special program that will "unlock" these video clips, or are we out of luck?

Thanks guys

TSV, the Sony is sharp..but GH4 is sharper than the Sony A7s ii.

However, it's not as filmic. Better for the Nat Geo channel, surely..but the Sony has a more organic feel. I believe that when you compare S Log 3 to Panasonic V.

I was at a filmmaker meeting in LA with over 30 filmmakers. The talk was about the new cams. Every one of them (for low budget) picked the Sonys over the Panny..and yes, over Black Magic as well. (Those are fightin words around these parts Lol).

If you really want sharp images out of the A7 series, I would suggest you forget about zoom lenses.

Pick up 3 primes. They don't have to be Sony lenses.

One of the best features of the Sony cameras is the mount. You can literally get an adapter to put almost ANY lens on the A7. That includes PL lenses, Canon, Zeiss, Nikon..whatever. 

If you want fast primes you're good to go as well.

Some of the sharpest lenses are the Sigma Art series, the new Canon L 35, and the higher end Nikon primes. 

If you have the money, Zeiss Otus and Milvus are blindingly sharp at 1.4.

Good luck.

Thank you sir. Appreciate the feedback.

Jordan,

Do you know if 60P in 1080 is also 2.2 crop?  And, if so what is the quality of the 60P?

Last question if I may:  I noticed you used the Zeiss Loxias 35 and 50mm.  How would you rate the Loxias for serious film work? Especially as compared to the Milvus line for Zeiss? 

Thanks man, great work as always.

Good luck on the sale! Great deal.

Ebrahim, the 1D X ii may surprise you! It's been over 3 years since the original version. We already know that Canon forgot they created the 1D C (I do agree about the 500 Mbps and 422).

Although if the 1D X ii comes with peaking, zebra, and crop marks I think we should sue Canon!!

Shield3, Congrats on your (new) family! 

PS: Great set of equipment there, hopefully you won't have to sell.

Good luck with everything!

The Digital Picture just reviewed this lens. Seems no one else has it. Looks extremely impressive. Shame no IS. Heavy lens, though at 35mm may not matter.

Haha..I think you're right!

Fair enough. The 85mm vs 50/55mm debate has been going on for 6 decades. It really is a tough call.

That is true about 6K, however, the Otus line (glass elements) take this line to another level above and beyond the Milvus.

Bob, the Milvus lenses are full frame. I think they look great but for pure performance the full frame Otus (near Master Prime level which is S35) is superior. Now if I could figure out what focal length..and here comes the 28mm at the end of the month.

Thanks for all the replies. Yes I agree you can get a quality 135mm for much less money. But something about that Zeiss..

Thanks Bob. Nice vid..do you have anything with the Zeiss with people..moving..walking? I think it does compare to the Otus line.

Shield3, only stills? (of course it excels at it)..have you used the lens for video?..If so what are your thoughts? Thanks 

I actually thought a long those lines, until I saw this:

http://www.thephoblographer.com/2013/10/11/review-zeiss-135mm-f2-canon-ef/#.VhBKOudHbCQ

araucaria, why the 55 1.4, instead of 85mm? Are you talking stills? Or, full-frame video?

I did read a blog where 2 different photogs said the 85mm was slightly sharper (if that's possible) than the 55mm.

Of course it depends on what you're shooting.

sudopera, if you have the money the Otus line is far superior wide open (full frame or S35).

I believe there won't be much of a difference by the time you're at 5.6 ap.

On the Milvus line, only the 50mm and the 85mm are brand new designs. All the other focal lengths on Milvus are taken from old Z (with better housing).

The Otus line is really brilliant. Cinematographers here in LA are literally begging Zeiss to bring the Otus out in the CP.2 housing.

Even as is, the focus throw is quite long. No de-clicking as on Loxia, however.