Jump to content


  • Content Count

  • Joined

  • Last visited

About wernst

  • Rank

Profile Information

  • Gender
    Not Telling
  • Location

Recent Profile Visitors

1,401 profile views
  1. It’s a law of nature of marketing a new product: the less quality you are offering the more noise you have to make. It’s as simple as this. The Pharmaceutical Industrie is the best proof for this law. New drugs, being as ineffective as the previous generation, have to pushed hard, e.g. on one week events for the so called oppinion leaders in the Carribean, Hawaii and locations like this, of course with spouses. An invitation to Hawaii for the so called "camera journalists" (unfortunately only 2 days, no spouses) tells me that the new product is not worth considering
  2. Andrew, just for my understanding. Your key sentence for me was: “. . . when we refer to full frame video, we only take into account the horizontal crop and take the different aspect ratio for granted.” In the case for the actual GH4 it means: GH4 Sensor: 4608:3456 (4:3) GH4 QFHD: 3840:2160 (16:9) which is 52% of the GH4 sensor area. For the upcoming GH5 “full sensor readout” has been announced. Taken the same sensor dimensions into account it will then use 4608 horizontal Pixels for 16:9 4k video, which means 4608:2592 pixels are used: This is 75% o
  3. Weight is the only solution? I don't think so. Big masses of steadycams have their specific, inherent problems. (“laws of physics” well discovered in Scotland . . . ) My experiences with rigs “with a bunch of mass” are simply painful. Trying to balance these rigs takes hours. And after swopping a single piece, e.g. the battery with another type and weight you have to balance it again from zero. To set up the in-cam stabilization of the EM5II is just switching ON the camera. Yes, the EM5II has still some issues, e.g. with pan. Interestingly the “real thing” has the same kind of stabilization pr
  4. Yes, fuzzy, you’re right, the EM5II is close but not fully comparable to “true” steady cam rigs - yet. TMO it’s just a matter of less than one year and we will see solutions which don’t need “some sort of rig with a bunch of mass” or external x-axis gimbal rigs. Just google “Sony Balanced Optical Steady Shot” (BOSS), see some footage taken with this system and you’ll see what I mean. I own a Sony CX730 (prosumer) camcorder with BOSS just because of this incredible stabilization power. Unfortunately the IQ is based on a 1/3"sensor. I've tested it under different hand held conditions and I can s
  5. Holding a 3-axis gimble stick to avoid shaking? Complaints that this camera can’t be operated separately? Fixed lens, no RAW? Do you forget that there are already serious mft/full frame cameras with 5-axis IN (!) camera stabilizations on the market? For much less than the mft X5R alone? In 2016 we will see cameras with highly advanced 5-axis in camera stabilization from Olympus, Sony - and Panasonic. I’m sure about this, just wait. These cameras will have stabilization systems with stabilization power comparable to the gigantic steady cam rigs, Movi-type systems or recent stick solutions.
  6. I’m dreaming of the new Panasonic AF400 camcorder with 4k organic CMOS image sensor with 16 stops DR with ISO performance up to 12.800 with low light performance only showing “one grain of salt" . . . noise with interchangeable mft mount with price tag 4k$ If your dreams don’t scare you, they’re not big enough
  7. I could not imagine that Canon consistently drives the mediocrity. Yes, they can. 1“ sensor, fixed f2.8-5.6, 64 GB CFast 2.0 for 4k ~ 300,- € !! (64 GB SDXC 10/3 for 4k in GH4 ~ 35 €) No EVF, touch screen is nice, but it’s not usable when loupe is mounted to it 2.500 $??!! Get a GH4 with 2.8/12-35 instead and you'll have the real thing. I understand better what Canon‘s branding effort means: “Canon See Impossible” - We see that it is impossible to catch up with competition
  8. ​ I’m fully behind your statement, that the learning curve in using gear first goes more to professional and later back to more basic, simpler gear. I can tell it from my own experiences. You ask yourself: What do I really need for framing my inspired ideas into an image? Over time you are gaining experience which is gear is useless and which is suitable for mastering your ideas. But you are not becoming per se creative in an artistic sense during this process. Your level of artistic creativity stays unchanged. You only become smart in assessing how far may I downgrade my gear to the po
  9. ​ Yes, IronFilm, you are right, it’s not an A7s, it’s a C300 or C500. But regardless of the type of camera rigged, the main question is, does complexity block creativity? I think the image tells. Another aspect which has not been covered here is complexity as the cause of a failure. Common sense suggests, that the degree of system complexity is closely related to the rate of failure of a system component. Considering e.g. the numerous cable connections of this rig shown above it is likely that one or more may fail. In this case not only creativity is blocked but total productivity . .
  10. ​ “Reduce to the max" is a well thought slogan for the people who are supposed to buy this life style car. This slogan sounds wise, almost philosophical, but it is somehow quirky. It pushes the perception: going small makes you big. For the smart car buyer this kind of "basic" minimalism has to be state of his mind, otherwise he would not swallow the numerous limitations this “car” has. And, it is certainly not an expression of creativity driving a vehicle as this. “The art of downgrading” does not only refer to the size of the gear. If I understand Andrew’s headline right, he describes
  11. “Simplicity is divine” says Kim Olson. “People often make things more complicated than they need to be. And that’s especially true with photography”. The photo below is from Philip Johnston’s blog “HD warrior”. It was taken at “Production Gear BVE 2015”. I think the camera man is smiling because he is happy because after 2 hours of rigging and adjusting he finally got his stabilizer up and running. The question is: Why does a small camera as the BM Cinema need a huge stabilizer as such? I think this rig doesn't inspire creativity, it absorbs all creativity for the
  12. I’m sorry, Eleison, I’m afraid I didn’t get the point from your “pies and girls” examples. The question here is not whether too many pies or too many girls spoil the fun. Andrew asked a valuable question: “Does downgrading your equipment to simpler, more basic models make you more creative?” Creativity is the key here. Assumption: Less technology, more minimalism inspires creativity - this is the art of downgrading. But, is it really true? A lot of talks on modern minimalism discuss whether minimalists should avoid technology. How to achieve minimalism? With or without technology in order
  13. Andrew Reid, November 20, 2014: “The glory of technology” (Samsung NX1 Review) . . .”However the world would be a very dull place without them and I do think all this technology is leading somewhere” Does it mean more technology is better? Andrew Reid, March 23, 2015: “The art of downgrading” (from Fuji X-T1 to Canon 70D) . . . “It felt like a direct extension of me somehow” Does it mean “less technology is more”? ???
  14. I have gone through Canon’s financial results of QII/14 published recently. In short: Canon reported an increased profit despite decreased net sales volume. Canon is quite a healthy company. They have almost 0.75 billion $ cash. This might also be their main problem. Canon’s business structures have gained overweight and overhead, they can’t move fast anymore. And we should learn that Canon doesn’t need to talk or listen to their customers as long as the shareholders are happy. The stock quote (in average) is healthy. None of the shareholders are interested in e.g. codecs or 4k reso
  15. The h.265 codec is not any faint innovation but a true video revolution. Even Sony and Panny, the only noticeable and remianing "Video Players" didn't manage to implement this codec up to now. All video folks, who are now running behind 4k video, will be frustrated as soon as they start editing their valuable 4k footage: Monster files digested in slow PC's. H.265 is the forward looking solution for all future 4k video application. But I am really surprised about Samsung's statement to a question raised whether e.g. Adobe's PremPro would support importing h.265 coded files taken on the
  • Create New...