odie
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After shooting and editing extensively with the 5D3 (H.264 + RAW), Sony FS700, GH4, and A7S, based not only on my personal opinion, but on feedback from actors/models/clients, cameras which produce better skin tones are preferred. I found this out by shooting the same scenes with multiple cameras and reviewing the results with others. Doing research online I found that skin tones were the single most important element for cameras used to make money. Resolution, frame rates, viewfinders, ergonomics, etc., are all very important too, but skin tones are number one. Skin tones affect emotion, and emotion is used to tell a story or sell a product.
What cameras provide the best skin tones? ARRI and Canon. What cameras are used the most professionally? ARRI and Canon. What cameras are used the most in Oscar winning films (last few years)? ARRI. What DSLR was used most in feature films? Canon (5D, 7D, 1D): http://shotonwhat.com/?s=5D. Why did the C100/C300 far outsell/outrent the FS700, even though the FS700 has way more features (and can even look full frame with a SpeedBooster)? C100/C300 produce better skin tones with less effort.
In the end, it's possible to get similar, sometimes even better (rare/unusual lighting conditions) skin tones from the GH4 and A7S vs. the 5D3, however on average, the 5D3 requires a lot less time and work.
How do we know when skin tones are better, when it's so subjective? Shoot the same scene with multiple cameras then show the results to multiple people for feedback. Some DPs do a ton of testing to figure this out before shooting a feature: http://www.hurlbutvisuals.com/blog/2013/10/arri-alexa-vs-canon-c500/
here is very nice skin tones with old tech...
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if you're making a special effects movie with costumes...don't shoot it with a digital camera...it looks fake...(test it yourself on the big screen)
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FYI - There's another one on eBay (in the UK) for £4899 with two batteries here.
The 1D C is a camera that has been the source of both great wonder and bafflement for me since it was released but it is time to bring it into the EOSHD family and shoot with it!
Hey!
EOSHSD/KODAK for 2015 get those cooks on an arri LT or moviecam...with kodak 5203...AMAZING!!!
Wish you and everyone all the best HAPPY NEW YEAR!
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to come back to the main issues of this thread, here are the results of my personal shogun tests and experiences:
1) do i need a shogun? yes, except a too glossy display it seems to be a great, useful, future proof product which is a great companion to every camera even only as a monitor. if they implement 4k60p as promised it could still be in the bags alongside with future camera releases in 5 years.
2) is the shogun better than its competitors like the (new) odyssey? yes, when it comes to shooting good 4k footage. aside from several detail features mainly because it has the only 1080p screen, which is helpful for 4k quality.
3) do i need the shogun for a specific camera? for the a7s it's essential, as otherwise there's no 4k. for the 1DC highly recommended because of all the peaking tools and having a flexible screen, although it doesnt work as a recorder. for the gh4 it could go without as the onboard screen can do a good job, and the internal recording looks the same in real world. for a c500 it technically would not work as a recorder. for all 1080p cameras a cheaper monitor would do it. the only 1080 job that makes sense with the shogun is on red cameras, who have a massive internal sensor crop when shooting 1080. the shogun can finally allow 1080 wide angle shots with a scarlet or epic, although not with red raw codec.
4) which camera is the best companion for the shogun? aside from the price, for lowlight and overall features it would be the canon 1dc. for more than 5k and higher frame rates, it's the red epic (not dragon because of noise and redcode limitations). as the red onboard monitors have some more camera-specific features, i would only use a shogun for wide angle 1080p master recording (see above).
5) which budget camera is best for the shogun? right now sony a7s, because it tops the other competitors with its full frame and lowlight abilities.
6) after buying the shogun, which camera should i buy that i don't have yet? probably none. if sony comes up with a sony a7s2 that has internal stabilization as the new a7, that would be a very useful new feature that tops the old model. canon did show that they can deliver top quality (like with the lowlight abilities of the 1dc already two years ago), it's just a question of time when they make it available in cheaper products. i think it might happen in 2015! two days ago i received the new 100-400 lens, that is so good and sharp that i really think about selling my 200-400/4. it mainly did show that canon now is willing to charge only 1/5th of the price of the same quality they did offer in expensive products two years ago.
+1
nice...
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I would love to see douglaurent compare the 1Dc to 35mm film. Lol.
Btw, when is the next part of the review coming up?
35mm film is like an oil painting in a museum...the 1dc can be used as a b cam..
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here in L.A. it's playing...I will go...and have a Merry Christmas everyone!
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The best tests are minimally 'single blind' when you don't know which camera is which:
Alexa and 5D3R cut very well together and a typical audience member won't notice any differences. Again, no one is saying 5D3R matches Alexa. We're saying it comes amazingly close, and most people love the colors. Case in point: if Canon is the most popular stills camera due to their color science, it makes sense that RAW stills captured at 24fps are also very popular with audiences.
Regarding getting out and shooting, we've posted quite a few example videos of our work, do you have any examples of your work that could help us understand your idea of filmic?
Again, no one is attempting to prove the 5D is as good as Alexa- we're saying it comes amazingly close. I was recently in Atlanta and spoke with John Sharaf about cameras and filmmaking (his facility is very cool: http://www.sharaf.net/). I have been considering purchasing an ARRI Amira however after talking to him, it doesn't make business sense. He's in the rental business and most productions are renting cameras and lenses. Purchasing a single Amira for shooting and then making available for rental doesn't work. After spending money on advertising and once the camera is out for rental, additional clients call looking to rent the camera. Frequently not having cameras available isn't good business, so the investment then becomes purchasing more and more cameras (he has over 20 Alexas and Amiras and all the high-end lenses). After showing him our work on an iPad, the takeaway for indie productions was that for HD delivery, the A7S, GH4, and 5D3R are all more than sufficient. Even if we wanted to purchase an Amira, they're not generally available (perhaps John Sharaf was able to acquire them due to his relationship with ARRI).
+1
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Reveal the unseen part of the video recording process.
The essential and the mistakes of capturing moving images.
Composition and camera angles, tell us how do you physically operate behind the camera throughout a given scene or shot.
Important camera operator skills, knowledge of and the ability to select appropriate camera lenses, and other equipment to portray scenes.
Share as much as you know , don't be afraid to reveal your doubts, play nice to everyone, don't fight over stupid thing, for professional and not, share your experiences and videos, help anyone in need of advices.
Enjoy!!!!!
like Kubrick the arri 2c + kodak...=CINEMATIC NIRVANA
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We did tests in our company, Alexa RAW (2880x1620) vs RED for a heavy VFX feature film. We chose the Alexa. Way better image, across the board. I thought the difference would be smaller and that the RED would win because of resolution. But it really didn't. And we have lots of tracking shots to do.
it's a surprise…I'm in Los Angeles….but digital cameras Red or Alexa and VFX don't mix…try projecting to see….if you can find a film camera use it instead…
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I don't believe in DxO mark results either, not even slightly. I've done side by side tests between the 70D raw stills vs D5300 raw stills. Not a single time have I seen the supposedly significantly superior Nikon beat the 70D's supppsedly horrible sensor, they are identical in noise levels at low and high ISO, they are identical in shadow and highlight recoverability, they are virtually identical in resolution (Nikon ever so slightly sharper at 100% but 70D cleaner of aliasing and artefacts), they are identical in great colour performance. The 7D mk II is even slightly better than the 70D.
If I had only looked at DxO mark like Internet gearheads on forums do, I would have believed Canon's sensor is terrible and several stops behind Nikons/Sonys, and that they will produce significantly higher quality images. They don't.
The only test I've done that showed Canon sensor being beaten by a Sony one, is the D810 vs 5D (stills). Yes that 36mp sensor (in the d810 not d800 as the later falls behind Canon's in lowligh performance and shadow detail) is great and better than Canons offering in resolution and noise levels and shadow highlight recoverability. Yet the D810 is 3 years newer than a 5D. I bet the the MK IV will have close results to Nikons competition, just like every single time in the history of the two companies.
The amount of hate subjected at Canon these days on the forums (not just video forums) is unforseen, yet everytime I actually compare both there's not much difference and there's benefits and quirks to both. Now wait for the comment accusing me of being on a "fanboy" as I've been called before here comparing a Canon vs a Nikon when I said they're similar, you must completely trash Canon and incrimenate their sensor technology and state their cameras are significantly worse than every other company to gain trust on the forum boards. Perhaps I am a Canon "fanboy", I am shooting with a D5300 and D810 afterall :Dmy last 3 jobs have been shot on 35mm kodak film….canon's 5d mark iii (with Magic Lantern) was the b camera in tight spots and when we couldn't get lights at the location quick enough…a big plus is Magic Lantern and their integrity…as well as kodak and their artistry of image…
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they're stitching together the same 35mm sensors they're using now…same image quality…doubt they'll take any work away from present imax cameras...
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here in Los Angeles..through the work of dedicated professionals kodak film is thriving in the digital world
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Based on the chart below, I'm not sure how much longer it can last, but for now, under pressure from several directors, including Quentin Tarantino (of course), Christopher Nolan, Judd Apatow, and J.J. Abrams; the studios have all agreed to pre-purchase film stock from Kodak.
Article was in the WSJ, this after Kodak recently emerged from bankruptcy:
http://online.wsj.com/articles/kodak-movie-film-at-deaths-door-gets-a-reprieve-1406674752?tesla=y
dead…?? more like film is drop dead gorgeous…!! and a half billion is a half a billion WOW
note: yes the best picture for feature films…but also advertisements…when a roll of 16mm or two rolls of 35mm might be all you need
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i don't know if this helps…but the 7d is rated very good in crop mode which i think means you don't need a vaf and you get higher resolution too good luck
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2014 first (sales) quarter goes to panasonic the second quarter will go to sony …the third quarter will go to canon..nikon..???….2015..2016…business as usual
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Heavy beast. Man, you will be in for a surprise when you try actual pro- videocams ;)
right.. try a red mx handheld or a panavision gold..
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Tom Cruise's new movie is out. For those interested, check out the camera man's rig.
http://www.imdb.com/media/rm2594688768/tt1631867?ref_=ttmd_md_pv
http://www.imdb.com/media/rm3836202752/tt1631867?ref_=ttmd_md_pv
And of course the cameras specs:
Arriflex 235, Panavision G-Series Lenses
Arriflex 435, Panavision G-Series Lenses
Panavision Panaflex Millennium XL2, Panavision G-Series, ATZ and AWZ2 Lenses
Panavision Panaflex Platinum, Panavision G-Series, ATZ and AWZ2 Lensesthe best from Panavision Woodland Hills CA.
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savefilm.org
In: Cameras
I love the look of film, sadly I've never been able to make a production with it. I've put countless hours into digital production and post processes, just to try and emulate the look and feel, because I love it's non-linearity, spirit and heart.
I do shoot still photographic film though and love it. One hopes that somehow, film motion picture will have a resurrection outside of Hollywood, and become more convenient to use somehow, by way of new technologies...
+1
i use film a lot for it's beauty and timelessness ( and no worries with deliverables.. the client is always thrilled with the look!)
i think it's important to keep film and digital both evolving and competitive…
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I just saw this film, and heard it was shot on a 5d with magic lantern.
I think its amazing, and shows, you where this camera is capable of.
Hope you like it:
do you know which build their using…is it the new one 1.2.3.??
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my favorite camera is THE ARRI LT..
but for (video) digital work ..red one mx is a beast…and (5dm3 nice with raw)
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LOTS OF FILMS IN COMPETITION BEING SHOT ON THE ARRI LT (my favorite)…ARRI ALEXA..F65…but then there was one film that was shot on a 5dm2…by a little known director by the name of Godard…(and I was just about to sell mine)
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and the Oscar goes to...Cinematography Award nom..
In: Cameras
Posted