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Guy Calaf

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About Guy Calaf

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  1. critical, honest conversations are essential in any environment. Thanks for keeping it real, Andrew. I always look at your blog with interest as I think you set yourself apart with strong, honest opinions. I agree with the all pro argument. I reckon that there is some insecurity related to people that use it as a shield. I wish I did inspiring personal projects, that would make me proud of myself. One day when I will make space and time in my priorities, there will be a beautiful place for them in my life. Thanks again
  2. I'd be very happy if sony will offer 10bit 1080p even if at 24p on their new mirrorless. A very deep HD would be enough. A treat if they can pull a 4k image 10bit, but HD is enough for me from such a little camera. I love my a7rii for backup and stills but the picture from my FS7 is another world from what you can get now with the 8bit of the A7 series.
  3. Andrew, you just proposed what would be a huge winner for Canon, a $5000 1DCII. EVF instead of mirror, double CF FAST slot, 4K 60p DCI in super 35 mode would be fine for me. 422 10bit h265. 120fps at full 1080. decent above 20mpx stills. touch screen, peaking, waveform. If canon would have any common sense this is the camera they would put out, but they have grown into an arrogant dinosaur company. Sony will keep on improving and so will black magic, and canon will keep on disappointing. Fast AF on stills and huge legacy range of lenses is really what they have going for themselves. the canon look is questionable at this point with so many more affordable and common sense options out there, including used red rigs and excellent black magic cameras. I love the 709 LUT from slog2 out of my fs7. Call me a simple man. does the job for me!!!! Though it is never too late for a change of direction for canon. The pundits who are all clapping at the 5div are to me like trump supporters. If I were a still photographer who needed AF in stills, I would see no reason to drop $7k (for two bodies) plus accessories and cards to upgrade from 5dIII to 5div. for what? 4k in almost mft format, dinosaur codec, unusable bit rate unless you carry thousands and thousands of dollars of cards, hd space and machines to transcode in 422 pro res. poor canon.
  4. Thanks Andrew for the great post, as usual. Looking forward to seeing some footage after people get their hands on them. The market has changed dramatically since Canon was king. So many options now that tailor to the various needs. 500mbs is a really difficult bit rate to work with, especially in a camera that is not designed for full time cinematographers - videographers. The 1DC was, so people knew what they were getting. ursa mini 4.6k, some sony models are way better options for the all around videographer and indie filmmaker. not to consider used Reds, used Canon C300 - C500 etc and used black magic production cameras that are so inexpensive. I never loved the look of the Canon 5dIII and I really have come to dislike Canon's arrogance in marketing. I owned C100- C300-C500 and all the 5d models and I am now a very happy sony user. fs7 and two a7rii. they do the job for me. I no longer need AF in stills so the alpha line works beautifully. Sony is not perfect but it's not arrogant and it loads its cameras with options. f5 and f55 are getting compressed raw. look at that... Canon would never do anything like that.
  5. Fun thing about Leica is that it really triggers the worst of us. I would love to have a leica M with all the fancy lenses but I know that I will never be able to justify that with my work, but that's just me. I have canons just like I drive a Toyota Landcruiser. I may be a boring guy but I love the colors of canon just like I love the way my landcruiser drives and relates to the huge market shares and versatility that it offers. I don't know about this new ff panasonic. Feels to me a lost battle against Sony's dominance of that market. Unless they surprise everyone and push out a double CF Fast slot to support decent color depth and high bit rate, why even bother to go against Sony with a similar product. I think Sony has position itself to be the leader in that segment. CF Fast is for the big boys. No one will argue that right? Or do people want to go against Arri? Canon is trying to be between Sony and Red but I am really interested to see if they can keep on carrying that claim. C300II will really have to produce a rich beautiful image way nicer than the FS7 to hold that claim. New 1DXII coming up with its current rumors is something to look at, if rumors finish being true. Let's not forget that Leica S2 had outstanding in their saying, medium format video and it went completely unnoticed. I don't see anyone rigging it for work. I see the production world in: Arri, Red, Canon, Sony in that order plus side players like panasonic and blackmagic. My question is if Canon will be able to keep that place in the pro world.
  6. Cool camera indeed, Andrew. But price wise it is just 1k bellow new full frame Leica. I'm not going to spend $ 3000 on this one and $ 4200 on the leica version, but if I were to commit to it, I would add the money and go leica. It's like if the Amira was $ 16000 would you still buy an FS7? On a separate note, rumors are coming up of a Canon 1DXII with 4k, i guess high bit rate and 240fps at 1080. Seems really dreamy but at $5000 for it Canon may come back in the picture for this kind of gear. Cheers
  7. Canon has the capability to really push its products and workflow forward but as you've been pointing out for quite a while now, it's going in the exact opposite direction. At one point last year I owned a C100, C300, C500 and two 5diii. Needed them for work. Now I'm down to a C500 and one 5diii and I'll be glad when I'll have phased out canon all together from my workflow. The owner operator market needs smart, reliable tools that work and produce beautiful images. I wish they produced 3 pro dslrs, 1) a new super 35 1DC priced just bellow 10k, with 10bit compressed 4k 60p, 2k 120p on two Cfast and the capacity to shoot 20mb stills. 2) a 5dIV, full frame with 4k 30p 10 bit and 2k 60p on the full frame, and stills. 3) a better version of the 7D markII with a nice 10bit 2k 60p, and stills. C300 mark II could work, but no one has seen any real tests yet. The short film is non indicative of the camera's look. If I had to rely on that, it looks like a 4k version of the 8 bit 50mbs that the c300 shoots. Same hard fall outs, no creaminess, very plastic and video just as the c300 was. Raw on the C500 is nice but the worflow is not great and while laying out new products they should have updated their pathetic software and workflow. I hope the rumors of a new beyond 4k C500 are not true, since Canon will not be successful in that market while making junkie cameras like the xc10. That's Arri and Red territory, and they don't make any crappy cameras. I got good use out of the C500 with the 7q, but that's the last Canon Cinema camera I'll be buying.
  8. looks like a pretty promising camera indeed. I wonder how fast access to menus, ND filters are. I read that the focal length - focus are difficult to use. Did you get to shoot with it? This could be a good one. Also, I'm sure you are going to do tests of it once you can shoot with it to see how the codec actually resolutes. Cheers and thanks!
  9. hey Andrew, thanks for this. We've been loving the bmpcc and pairing it as a C camera with C300 and 100 for our events shooting. We shoot a lot of fast turn around videos, at times, less than 24 hours, do you have any advice for matching skin tones between the EOS Cinema and the bmpcc? We're excited to try out raw on it. Only been shooting in pro res. It's such an amazing little thing. So portable. It can really fit in tight places. The Leica M of video, with a nice approach to the market. We like simple stuff and we've been using it with the two panasonic IS lens, 12-35 and 35-100, both 2.8. Good results, I reckon. Easy to use lenses, great built. We've also rigged it with the switronix battery pack, fits two lpe6, little modification to rig it to 15mm rods. Thanks!
  10. quite a strange move, indeed about fashion, and not about content. I'm a still photographer and a filmmaker. If I think of a statement camera, I'm definitely not going to look into a camera that does exactly what a contemporary dslr does, lacks features, and costs more money just cause it looks like an slr from 30 years ago. makes no sense to me. I don't think people will respond well to it. Professionals who can afford the price tag will prefer more functionality, video indeed. Even with C300, C100 and bmpcc in our production, we still use 5DIII bodies for video when we need them. And you always need backups anyway in case a camera goes down. If I want a fashionable overpriced tool that I don't need I'll buy a Leica M. Why buy an old looking Nikon that does less than a normal looking Nikon for double the money?
  11. whatever man. I had respect for this site, but you can go with the haters. BTW, My jobs have always separate sound with a separate sound mixer and boom operator. Simple image from the C system? Do you know anything about the C300? perhaps you should read some material about it before being so firm. Raw whatever. I am a still photographer as well. If I need raw I rent or buy a RED o similar. I'm certainly not going to rely on my flimsy 5DIII for a job that requires me to shoot raw. That is a professional contradiction in terms.    My last post here. Hate at your pleasure. 
  12. There has been a less than warm response to this in the pro world cause the pro world has tried the hack way before in the old days of the 5DII. We all used magic lantern to monitor audio and such. I tried again last year.  Unfortunately, while being a great project it lacks, and it always lacked, the necessary stability and reliability that the pro world needs when working on pro jobs. Which, God forbid, might not be better than a non pro job, but when our income depends from our tools we need our tools to work and be reliable. Always.    I am pro. I use my cameras for work as tools. Even if ML develops a stable firmware that is locked in the camera, it would have to be a permanent, solid solution. I would be willing to pay at least $500 per camera for the firmware. Said that, all the DSLR problems that made us leave the DSLR world still remain. Rolling shutter, massive camera shake, record lag, depth of field of full frame is just too much for run and gun, F2 at 6400iso handheld shooting. I do non fiction and I need that. No audio, bla bla bla.    Vincent Laforet is a pro who needs tools that work, and that do their job. If there is one person who I would not criticize for not standing on the side of the DSLR revolution that's him. Or are we remaking history?    He promotes Canon C cause Canon C does that job that he needs to be done for those projects.  I own a C300, 2 5DIII and I'm buying a C100. These are the cameras I use all the time. The rest I rent.  For what I do, the 5DIII have been replaced by the Canon Cinema system. I do a lot of handheld work and the C300 is probably the best camera out there for what i need, hands down.    When the nw firmware came out for the 5DIII i tried to do pro res hq on them since I grade mixed clips of c300 and 5diii and I need more depth from the very flimsy dslr codec, and there is a video delay coming through the HDMI. Why wasn't there any warm welcome to the new firmware?    because the pro community has mostly moved to better cameras in the last few years. Before we didn't have many options. Now we have options and we are taking them. 
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