Chrad

Pretty damn amazing, actually. Out of my price range, but it seems like a viable alternative to something like the SteadiCam Zephyr. If I were in the market for one of those I'd pay the few extra thousand for the convenience of being able to use it fully handheld, without a vest and without needing to go through many hours of training.

Does 'every filmmaker' have access to a helicopter?

Very cool. Much better than the Bruce Logan/Phillip Bloom 'Genesis' video, both as a film and as a showpiece for the camera.

A universal image stabilization adapter?

Yeah, I'm thinking some kind of stabilizer. It can't be a lens, since that would be fitting only certain mounts, and therefore wouldn't appeal to 'EVERY film maker' as LaForet claims this will. 

SHUTTER ANGLE / SHUTTER SPEED

The Sony DSC-RX100 has the annoying feature of only shooting 50fps (or 60fps on NTSC markets).

On one hand it's great to be able to shoot 50fps at 1080p, but on the other hand, shooting 25fps at the same bit rate would probably produce better results with less compression.

 

I believe it actually does shoot 25p when you choose the 50i option. Just drop it into a 25p timeline and you're good...no need to deinterlace.

I'm waiting for GoPro to throw their hat in the ring.

Just turn smoothmotion on on your TVs, it renders any film horrible, and that's what I expect from this. I don't disregard the technology though, as it could be great for video games, etc, but there's one reason film stayed at 24fps.

Many people associate it with digital and the future, but the fact is that we could have had 48fps on film many years ago if it looked any better, I guess in the end blockbusters will always be looking for some kind of gimmick to get people out of their sofas.

The reasons films stayed at 24fps were 1)tradition and 2) expense of film stock. 

This is really nothing like smoothmotion, where a processor in the TV is trying to turn footage with the motion blur and visual characteristics of 24p an artificial high frame rate look in real time. Here, the footage will hold very different visual characteristics. 

There is one thing missing here and that is what anamorphics do to DOF. When you shoot anamorphically on s35mm the DOF gets smaller. This is because a 50mm becomes quite wide but the DOF characteristics stay the same.

So to say all films are "deep dof" is quite wrong.

Barely anything is shot in anamorphic these days.

How is banding?

[quote name='Julian' timestamp='1350683479' post='20010']
ISO 200, 1/50s, Konica Hexar 40mm @ f/2.8, WB 3600K
GH2: Nostalgic -2-2-2-2
GH3: Natural -5-5-5-5

Be sure to click for full size.

[url="http://www.eoshd.com/comments/gallery/image/114-panasonic-gh2-moire/"][img]http://www.eoshd.com/comments/uploads/gallery/album_16/gallery_20742_16_2130456.png[/img][/url]
[url="http://www.eoshd.com/comments/gallery/image/115-panasonic-gh3-moire/"][img]http://www.eoshd.com/comments/uploads/gallery/album_16/gallery_20742_16_1746706.png[/img][/url]

.....

I'm sure you can guess which is which camera.
[/quote]
Wow. GH2 killed the GH3.

FS100 or 700 (with ND filters but slightly worse low light) would be the ideal for those sort of shoots.

Um, that sounds amazing.

I think it's only a matter of time until GoPro leverage CineForm Raw with a cinema camera of their own. I'd say it will be their next product line. They're much more likely to put up a serious fight for BMD's market than any of the Japanese giants.

Funny how Vitaliy didn't want to bother with it.

[quote name='galenb' timestamp='1350241367' post='19759']
Hmmm I guess there is one problem though. Some of those cameras are really heavy and wouldn't exhibit as much shakiness as a little GH3. One of the pitfalls of using a small camera is that it's more susceptible to jitters while handheld.
[/quote]
The far slower sensor readout and resulting worse rolling shutter artefacts exacerbate the problem.

I'm waiting for NAB before making an investment, but unless there's something I can't live without announced there that's out shortly afterwards, I'll buy a BMC.Hopefully it's widely available by then.

Will probably pick up a GH3 as a stills and B cam somewhere down the line when the price comes down.

Michael Reichmann of The Luminous Landscape had this to say:
[quote][url="http://www.luminous-landscape.com/whatsnew/"]Observant Home Page viewers will note that the new front page image was taken with the as-yet unreleased Panasonic Lumix GH3. I have been shooting with a press review sample and will continue for the next ten days or so. This is a pre-production camera, so it has it foibles. But so far I am extreemly impressed with the build, handling, and especially image quality, both stills and video. This may be the best hybrid camera yet.[/url][/quote]
He's a big GH2 fan and was an early proponent of it as a video camera. He also regularly uses the FS100. I think his endorsement is great news.

Get a Zoom H4N or a Tascam DR40, plug the microphone into it, and record and monitor from there.
Use a clapperboard or something like it so you can synch up the audio and video tracks.

Looks like a great stills camera for anyone invested in M43 lenses. And even if the video turns out to be disappointing on the whole, it stills gives you a 1080p 50/60 mode, which is something.

[quote name='ike007' timestamp='1350010330' post='19646']
Isn't the a99 still carrying non final firmware?
I would not care too much about the moiree or aliasing. Final viewers, including clients, will not even notice. And, if I have to shoot something like scene at the grocery store, I would use a proper video camera or use a wider aperture, so all those cans on the shelves, that are very distracting anyway, would be slightly softer.
Stick a fast prime or a proper Zeiss/Sony zoom and use this camera for what is meant to be used, you will not even have to worry about moire and aliasing. :)[/quote]
Ugh.
Throwing everything out of focus doesn't make the image looks nicer.
The cans on the shelves in Punch-Drunk Love's deep-focus grocery store scenes look amazing.

That is cool as hell. I was doubting these guys, but if they can pull it off it will be THE camera for handheld work.

The Nex has better dynamic range than the GH2, but it captures less detail and is much more prone to moire and aliasing.

No, it's a native Micro 4/3 lens.

The hack is 3rd party (as in, not made by Panasonic) software that you can download and install on your GH2 for different settings. It allows shooting at higher bit-rates, which basically means you'll have video that is more open to colour correction, and that holds more information in the shadows, etc. The downside is that you can hold less video on your memory card.

You can zoom 2.6x on the 20mm and all your other lenses by using the GH2's 'ex-tele' mode. This is different from an optical zoom (where you change the mm of your lens), but the quality is very good and it's worth using in good lighting conditions.

I think that line will stay S35 for now.