mtheory

I want Netflix to take action here, hire the trio and make it happen. That's all.

Canon 1D NA?

​I do wonder why I tolerate it myself sometimes!

​Well said.
We are being molly coddled.
I know it's a cliche, but it's true. Too many people are offended about offence.
The US networks have their own version of Top Gear. It would be interesting to see the difference. I very much doubt it is edgier.

Source: http://www.cinematography.com/index.php?showtopic=66581&p=425881
Irrefutable proof that the Cinema Camera and Pocket Cinema Camera produce the best picture under $2000. Lighting and composition are the cornerstones to producing filmic work. So is grading. 13 stops of RAW is an incredible canvas and medium to work with.
The counter arguments to these cameras are so laughable. It all comes down to effort. These cameras are "hard" to work with because they take just a little more time to work with. What's ironic is that producing filmic works always takes a little more effort. If you're not constantly chasing for that extra little bit, you're producing schlock. If a camera makes X easy, then you should be tackling Y. No camera should let you settle. This work isn't easy.
 

​the "Red Fail" - the newest camera from Red.  Coming soon.  No prototype yet but please upgrade and pay $10k - it will be worth it, I swear.  Higher frame rates even though for 94% of what you do you only need slo mo at around 48 FPS and the current camera can go already up to 180 FPS or the FS7 can do this for only 7 grand.
10 stops of dynamic range when detail comes out of shadows.  320 ISO.  Gets grainy past 640 iso.  Very very loud fan between takes.  Awkward button placement.  Only one hd-sdi out.  Weird motion cadence during slow motion.    Comes with embarrassing cult-like message board groupies who have over 6000 posts - and do lots of "yes that's great" posts.  Run by CEO who personally calls out cinematographers on his "farewell" message board.  Embarrassing logo that would be at home at a yuppie biker-themed restaurant in the midwest.  New president  of company is former message board admin.

So reduser just deleted all my posts because of my thoughts that brand loyalty is bad for film making - and also that reduser is bad for red.  The moderator told me that posting on reduser is like coming into red's living room and talking poorly about Red's wife.  They are so crazy there.  But it's good because spending all day on a message board is a waste of time.
Part of what is great about EOSHD is we can praise or trash talk any camera, lens, light, or anything and no one seems to care too much.  They are all just tools and objects - sure someone might get mad if you make fun of their brand new car but really - this isn't about cars it's about a thing that records footage to tell stories.  Like do you think people got upset if you made fun of their typewriter back in the day?  No, you talk about what their typewriter writes.  

I can´t see why an Arri announcement should be the "clearest signal yet" for a C300 update, but otherwise your analysis is very plausible. I was surprised and disappointed that nothing happened last year...
I watched "Need for Speed" yesterday just because I wanted to see more C500 footage from big productions. Pretty good, although I have to admit that many of the daylight shots filmed on Alexa looked even better. 
Personally I feel not really in the mood for Sony yet, especially I doubt that a 7000.- sony camera like the FS7 can have the colour accuracy of a Canon C500 which can almost be had for about the same price used and with Shogun. I´m just not impressed by the test footage on vimeo from the FS7, and the official introduction video did not even have a proper grade (I´m sure they forgot about the delogging). On the other hand I ordered a very early C300 immediately after the first good demos. 
The battery life of the C300 is just stunning, I´d never ever go back to less, let alone bulky V-mount batteries and the need to lug around generators when going on field trips.
So, I´m keeping my fingers crossed for the C300/C500 Mk2. 
I hope and I´m quite sure Canon will not offer Full Frame models, as NOBODY in the professional field would give a damn. Just use a F2.8 instead of F4.

Jimmy you have 94 posts worth of self expression to your record on this site, and I have 5 years of experience and thousands of blog posts. So if you're going to criticise me for lacking research, at least do so from a position of strength, otherwise you just look like another Canon fan boy.
Very few Canon users I know are satisfied with how little they have brought to the plate in DSLR video or for stills in the last 2 years.

Their not moving into software and other current sharing technologies shows where their commitment has not been.
Whats maddening is Not just ML firmware but what Canon did in sending signals to others that turn out to be mixed signals ……
 
As far as video goes...
Canon early on by their participation in video signaled to third party venders they were committed to the market and cool accessories were developed and brought to market.
Now we realized based on their reaction to Magic Lantern and their lack of participation in new media, they were not committed at all.
Now as I search for a good little USB remote for my GH4, I find the cool affordable remotes were ONLY developed for Canon based on what those venders interpreted as Canon's commitment at the time.  Upon reaching out, I find one vender no longer has the resources to develop a new product for Panasonic or SONY.  The other is working on something - who knows how long that will take.
The result for uses has been not good at all.
 

The only difference between RAW and ProRes 4444 XQ (or regular 4444) is ProRes maxes out at 12-bits and is debayered in camera. RAW was an interesting idea to offload expensive processing on desktop computers- its days are numbered. Compressed codecs will completely replace RAW. ARRI is now even providing tiny 50Mbit/s 422 MPEG2 to improve workflows.

​No visible difference between ProRes and RAW on anything other than IMAX good. Even then, 99% of people wouldn't catch a thing. ProRes from the Alexa is flawless, better than Red Raw at high bitrates. Who knows why.
You can't change your ISO (digital gain) in prores, but in my experience Alexa footage grades much more flexibly than any Red footage and the log implementation is so far superior to Sony's and Canon's... you just move your gamma slider and it feels like you're moving your exposure.
The Alexa is the real deal. 

Why don't you buy the KineMINI as a barebone 2K starter version for around $3K-$4K, you will be able to upgrade it to 4K and slow-mo in the future. 

Look, man, if your primary need is educational and if you want to spend most of your time actually doing post with 2K DNGs instead of building rigs with many components, you should go for 5D3 with ML with a nice big Lexar 1066x CF card, once you set it up to stable settings its the easiest camera to pick up and shoot without worrying about batteries or monitors, etc. I recommend you spend $2K on 5D3 and spend the rest on good Zeiss CP or Canon L lenses, they will last you forever as you keep upgrading to new cameras.
If you're buying 5D3 brand new, make sure to check the firmware that is compatible with ML before you buy, some of the latest supplies have a new firmware that doesn't allow downgrading.

​Possibly because they don't want youtube being filled with footage that doesn't show off their camera in talented hands.

Don't be fooled by the RED model. Sure they are amazing cameras that have shot Hollywood films but those films also had a huge crew. The shoots I've done on RED have been very slow (as I didn't have enough crew) and technicalities then came before creativity. Also if you want more accessories it costs a fortune. It's a hardcore system. 
I would only buy RED if I had the money to fund more crew members, and I had consistent decent budgets to play with. You also have to consider post-production. The raw workflow is one of the best. But it takes a lot of work and time. Time is money. 
Personally I think a much better option would be the Sony FS7. It's the best "all-rounder" camera available. It's the same sensor as the F5. It has high FPS. Wide DR. Slog3. 10 bit. E-mount. Lovely ergonomics. Great price. Good low light. You can film anything with it brilliantly, pretty much out the box! (You need a mic, cards and batteries). Also you can upgrade it to shoot in raw and higher FPS. 

I've used the Red1.  I don't want to use it anymore.

I think what I wrote relates deeply to a lot of people - that we seem to feel we need to be "accredited" to be artists, when the reality is that you are an artist if you do art - just as you are a runner if you run.
And I think this is an issue to speaks to many people.  This isn't purely navel-gazing.
Also it's about the psychologogy behind filmmaking.
But one could also argue that all personal essays or biographies are better left to oneself.  And that's fine to feel that way.  It's a topic that has existed since human communication started.

That video is brilliant!
 

The Canon C300 (currently reduced to $11,500) was the $15,000 stalwart of the professional videographer, only recently did it have a compelling rival - the Sony FS7.
The Samsung NX1 is essentially a cutting edge 4K Super 35mm sensor in a mirrorless camera, recently given a video oriented firmware update which improves dynamic range and the available image profiles.
I was curious to see how the images from these cameras compared and I put my Canon 1D C into the mix as well.
Read the full article

I think Canon know exactly what they are doing, unfortunately for all of us who'd like them to be more innovative.
They have the most complete stills system, and the most complete video system, albeit over the last 3 years these systems have become separate bodies that share the same lens set. But how many times have you read a post where they say: "I would have changed system, but I'm heavily invested in L glass".
The poster could sell the glass and not lose much money, but lenses are an emotional thing for us video and stills makers, they work like our eyes and capture what we see. And with the turbulence of the DSLR/DSLM video market over the last 5 years how many people are going to brave a decision that will see them lose money and take a hit emotionally, when just around the corner the camera they've been waiting for might be delivered.
So yes, Canon are playing the game well, and have been spending their brand capital heavily to keep the competition at bay, and this is the year for them to make their move or lose a dangerous amount of ground in the £1-2K market.
We all know that Panasonic and Sony currently have the best all round cameras in our price/size bracket, and as much as we all love using vintage glass etc., what we really want is a mature complete system like Canon have. Sensitivity, DR, Colour, usability, and... lenses. Lenses designed for our favourite system.
With respect to the "Rebel" buyers, it only takes a critical mass of people to blow their friends away by showing them what their Olympus or Panasonic can do for Canon to start losing their critical "lead in" market. So for god's sake, show your friends, and keep the market competitive.
It's going to be a very interesting year. We should be excited not angry. I don't think they will, but if Canon rest on their laurels then so be it, because we don't really need them any more.

First of all, please honorably accept this month's Victim Award, just wonderful talent for whining and conflating sarcasm with hate there.
Short answer to your rant, - if you're gonna use the word "cinema" in your professional title, it better be related to the art of storytelling, not just filming an event. That's what a wedding is. A live event. That you are covering. It is basically a fucking local news report with shallow DOF, no light and a bit more angles. It lacks both the art of storytelling and the craft of lighting. Yes, it sure feels creative. Making a tuna sandwich in the morning makes me feel creative too. But it isn't cinema. So don't call it that. That's all.
 

You cannot shoot a feature film and release it to millions of viewers across cinemas with a photo camera. They did with a 5D.
You cannot shoot a prime TV series and release it to millions of viewers on cable TV with a photo camera. They did with a 5D.
The industry already changed, and the debate has already been settled, a DSLR will never be just a photo camera. Don't spit against the wind.

​No improvement in DR after 7 years in unforgivable...for a stills camera.