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Ruben Fernandez

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About Ruben Fernandez

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  1. For a second I read F55, not FS5, and got really excited!
  2. Dude after this article, http://www.eoshd.com/2014/10/sony-a7s-review-part-2-conclusion/ Really? You can make some mistakes granted, all the mistakes you want! It's just the super professional tone of the articles that get's one thinking. I have actually bought two of your books, the GH4 guide and the 5D raw guide, and when there are these radical changes in opinion one really has to think if the books too might also be wrong insights into gear and their implementation. No offense, but I really am quite a bit confused.
  3. Very nice Andrew, thanks a lot. I have a shoot with a Sony F3 with external recorder this sunday but I will take my mark III to make some tests!
  4. Hello, great review.   I have a question. Does the Zeiss Jena 20mm focus to infinity on the GH3?   Thanks!
  5. I am very excited too about the BMC. As I said in my first post, I probably will buy it or rent it extensively. I have to say most of the stuff you write in your article are spot on: the dynamic range, the RAW, and, for me specifically, the 12-bit color space. This last feature is priceless for effects heavy work. Maybe I might have gone overboard labeling the article as fanboyish, but I do read it, as I said as unnecesarily one sided. Yes, the camera is undeniably exciting. But I don't think it is superior to the 5DM3 on several crucial aspects which I felt (keep in mind is my opinion) where too much downplayed for the sake of making the BMC seem superior. It is true that raw does allow for mistakes to be made, however I also have the impresion with this feature that it could make filmmakers more complacent. And complacency in this job leads to worse mistakes (the oft repeated we'll fix it in post). It is of course true the need to rig any type of camera nowadays. But sometimes some form factors just don't work. I imagine using the BMC rigs for most situations, but how do we put a viewfinder like a zacuto finder on that big screen? We would have to go to an EVF solution that is not, cannot, be as compact as a DSLR with a finder. And sometimes that can be exactly what you need (ie: Shane Hurlbut's ActionCam). That was also a point that wasn't factored in the article. I know you mean well when you post a review, my only disagreement has to do with excitement probably getting the best of you. There is no harm in that, but it is my guess that readers could appreciate somewhat more balanced reviews IMHO.
  6. I guess not Mark. But since in the comparison there is a price point thing, I would get it straight from the get go, which is my gripe on this particular article. I am not criticizing EOSHD as a whole, and I have to say I have used a lot of the tech advice posted on this page. What I don't agree with is the fanboyish attitude that contributes to an unnecesarily one sided review.
  7. Listen, I am not going to argue anymore than what I will be posting here so I will just adress this last comment. I cannot replace innacurate with not for you simply becuase you state that both cameras are 3000 dollars. To get the BMC up and running, you need a little more, asi I have stated above. I cannot change biased with what works for the majority, including me, because as you have said, you only work as a narrative filmmaker. And there are all sorts of filmmakers: wedding, documentary, news shooters, advertising (my specialty), etc. You can try to pigeonhole me as a ESPN polo shooter, I put it up simply as my first gig with the 5DM3, nothing more. But the reality is, I have directed dozens of tv commercials. I have worked on feature films. I have worked on documentaries, including one for the United Nations. I have 5 music videos under my belt, all have been shown on MTV. I have shot with most of the professional cameras out there, from the venerable Arri 435s and SRIIIs to Alexa, Red One and Epic, practically all Cine Altas (F900, F35, F23, and EX1 and EX3), Phantom, and of course DSLRs. Not that I would think that you might care or not if I have this experience, but I just want to make my point clear. You want a respect that you are not dishing out with your ironic comments. I am not being ironic or sarcastic to you, and If I disagree with what you are saying you could address me in a different tone if you want respect back. You don't like to be referred to as biased and innacurate, then don't be.
  8. I am not implying anything. If you read what i wrote farther up, you can see why I consider it biased and innacurate. AND in your article you never specify that the BMC is better for YOUR particular needs. You can try to make me look ridiculous all you want with jokes and phrases like Again you have forgotten that the article wasn't written as free personal one to one consultancy for Ruben Fernandez and the specific needs of Ruben Fernandez, but the truth is that your article is both innacurate and biased. you wrote Which should you choose? regarding the cameras, not which should I choose. So I am sorry but you are addressing a larger audience than yourself.
  9. Administrator your opinion is yours and you have are in all your right to express it. But I think many people who are looking to buy or rent this camera will do so on a very broad spectrum of needs, not just narrative filmmaking. I for one shoot mainly tv commercials and in truth the BMC is going to be an awesome camera for this need. But it your article IS very biased and I cannot really appreciate as a truly objective comparison between the cameras, inputing all (or at least most) of the diferent needs and requirements, and not downplaying the virtues of one camera so the other seems far superior. I am sure the BMC WILL be very superior in many aspects to the 5DM3. But the 5DM3 is going to be superior to the BMC on some, and it will come down to what you are using it for. I don't like the article not becuase you didn't include weatherproofing (and it is a very important extra for documentary filmmakers) but for the bias. On the article you write that the BMC and the 5DM3 are both around 3000. You know that isn't true. SSDs wil cost around 150 each, and you need at least two for a shoot. (If you think you are relying in just one disk and are truly asking for it). The CHEAPEST powering solution I could find are the switronix powerbases which cost 300 dollars each (again you need more than one) So starting with the price discussion the article is innacurate. The shutter SHOULD be at 180 degrees but it doesn't have to be and anyone who has seen either Saving Private Ryan or Collateral (closer and wider shutters respectively) knows that the shutter is another creative tool that shouldn't be so easily overlooked. the 13 stop dynamic range is great but I don't think that being complacent is the reason for it, it there to create stunning images and not to cover for one's mistakes. on DSLRs shooting is much more akin to shooting reversible film and you have to be much more precise in your lighting, which though limiting, pushes your skills to get it absolutely right. If you get good stuff on an SLR on the BMC your footage will truly shine. But if you are "not getting it" on an HDSLR don't expect miracles from the BMC.
  10. Also Cameraboy I am very little inclined to "revolutions" and "game changers". I come from a film background and most of my early career I shot on 16mm and 35mm film. The only thing the new HD cameras have brought to me are the aesthetic qualities of film I missed when shooting on F900 or HVX 200 early cameras for a much lower price. But image wise, I am just returning to the look I studied and began working with early on.
  11. Let's be clear cameraboy, I am not bashing the camera. And what you say about fall-off and loss of res on the corners is totally true, it is a limitation. In real life (and I say in real life because I am generally shooting actual stuff, not doing tests or pixel peeping) I find that these limitations are not as critical to the overall feel of a shot, than the distorsion caused, not on a brick wall, but on the face of an actor or model (I mostly shoot commercials, where beauty is paramount) and I can tell you, the distorsion of a 24 or 25 photography lens (and I use Carl Zeiss Zf.2s) is not acceptable. Neither on a 5D, a 7D, an Alexa or an Epic (I've shot tv commercials with all of them). I agree that I don't want or need ISO 12.800. But this also means I can shoot comfortably at ISO 3200, which si more than enough on a night shoot and you can take advantage of practical lighting, augmented with artificial lighting, the true advantage is the money saved on renting lights. We are always going to have to rent lights, but renting less of them is not only cheaper but more ecological. I also agree that material from 5DM2 and M3 look very similar but I had a pleasant surprise recently when I shot a commercial all done on greenscreen. I had to use the 5DM3 for budgetary reasons and was terribly worried that the keying was going to be a nightmare. As it turned out, the compositing artists where delighted with the 5DM3 material. I am sure BMC greenscreen footage is going to be much better. But I am not bashing neither camera. I am not a Canon fanboy in spite of shooting with them for thee years now. I bash the article because it is so biased towards a product. It is the exclusive, not inclusive tone of it. And sadly of a camera that has not seen any real use yet. (seen only tests so far, can't wait to shoot on it myself.)
  12. This article is very unfortunate for it's very innacurate information on many fronts, in particular it's bias towards a product which very few people have actually used. I think the BMC looks like a great product but until people start putting out REAL material, not tests, we won't know for sure about it's performance. First of all, unfortunately, the BMC is NOT 3000 dollars. You have to buy SSDs and an external power solution that will set you back at least $1000 dollars more. This is specially true if you already own a 7D or 5DM2 that uses the same power, same cards, and overall is the same system if you upgrade from these cameras to the 5DM3. That is, you don't have to invest in extra accesories. ON the BMC, you HAVE to. The article also downplays the potential (and I say potential, because, as I said before, no one knows yet) lack of low light capabilities of the BMC. Another issue that is not dealt with is ruggedness. I have personally shot with the 7D in storm conditions in the middle of the atlantic and the camera performed flawlessly. To say EOS cameras are reliable is probably an understatement. Can we see this toughness on the BMC? Again we don't know, and I wouldn't rush into saying either or but from the looks of it it seems much more delicate than EOS cameras. Another point that is not generally appreciated is the inherent distorsion of wide angle lenses. It's not just a matter of field of view. a 24mm is going to behave like a 24mm, that is, it will distort. True, in the sweet spot of the lens this is not as apparent but it is still there, and it is no match for a 50mm in full frame. Unless you use a dedicated 16mm type 25mm, which is optically corrected to not distort in the same way a 50mm is designed for a full frame camera. But that is another story. But we it is my guess if you are using an EOS mount you are not going to use 16mm type lenses, and will have to deal with a fair amount of distorsion on closeups etc, if you use an EOS or similar lens on the BMC. Finally the writer really downplays the look fo full frame sensors, which is quite unique and can't really be replicated with smaller sensor cameras. I really don't mean to bash the camera (I think the BMC is great and I will probably buy it or rent it extensively), and I am a 5DM3 owner, I have shot wonderful stuff with it and am very happy (so far, an ESPN polo show and a tv commercial totally shot on green screen). I really mean to bash the article, because I think it is quite unfair and biased towards a product that is not even out in the market yet, and which we do not know it's true capabilities. It seriously makes me question the integrity of the writers and I suspect there are commercial motives behind such strange comparison between these two technologies (I think both cameras are amazing and have their place in filmmaking, I don't see it as an either or decision).
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