TVDino

1 hour ago, IronFilm said:

***WAS***

Now it is more like US$1.5K secondhand. 

Still an absolute fantastic camera, and the best value one in its class today even in 2016. 

Yeah, the price-info is outdated and there are some bad mistakes too . E.G.  RED's Epic was not available untill november 2010 !
So the "Epic-movies" from 2009 & 2010 like "Social Network", "Book of Eli" and "District 9" was shot on RED ONE ... ;-) 
And remembering the Canon-DSLR-movie--discussion I noted that the later Blomenkamp "Chappie" uses 5 D mark 3 mixed with
Epic Dragon and others !    But the cameras/brands are very observant, looks right to me - they made a good overview ! 

Regarding what films are shot with - such as 5D Mark3 (or not ?) - I found a very interesting article here :

 http://filmmakersfans.com/kind-of-camera-used-for-movie-making/   

>> Actually, which camera is used for movie making?  Added on July 27, 2015

Which camera is best for making films? If you are new to the filmmaking, you must thought about this ever once. A cameraman/filmmaker is selecting a film camera on the basis of proficiency in the technology, his flexibility and the basis of project: Okay, then which camera is best for making the films? Check out below, you probably can find a satisfying answer from this article.

1. ARRI Alexa

ARRI Alex is a motion picture equipment manufacturing company, which was founded by August Arnold and Robert Richter in Munich, Germany.  The organization was formed in the year 1917 and they developed their first film camera in 1924. The company became well known in the limelight, after their chief movie camera designer ‘Erich Kästner’ developed world’s first reflex mirror shutter in the Arriflex 35 camera. Now, they have seven variant of film cameras namely- Alexa, Alexa Plus, Alexa SXT, Alexa Mini, Alexa Plus 4:3, Alexa 65, Alexa XT, Alexa Studio and Alexa M.

The films like In Time (2011), 21 Jump Street (2012), Skyfall (2012), Rock of Ages (2012) and Abraham Lincoln: Vampire Hunter (2012). The basic model of the ARRI camera includes a View Finder starts at $39.999.

2. Red Epic Camera

The Red Epic camera is a product of The Red Digital Cinema Camera Company, based in Irvine, California. The company was founded by Jim Jannard, in 2005: The first camera that was developed from The Red Digital Cinema Camera Company was – Red one, the Red Epic Camera is the most recent one. Some notable features that are included in the Red Epic camera are 19 megapixel Red Dragon sensor, 1920 x 1080 resolution High-def output, cheaper in price and weightless. Movies like District 9 (2009), Book of Eli (2010), Social Network (2010), the Hobbit: An Unexpected Journey (2012) and War Horse (2011) are visualized using the epic camera. Cost of The Red Epic camera is starts at $25,000

3. Red Scarlet Camera

The Red scarlet camera is another film camera variant from The Red Digital Cinema Camera Company. We’ve noticed that numerous films of Hollywood are filmed with the Red Scarlet Camera. Some examples of films shot on Red Scarlet Camera are   En solitaire (2013), The Expendables 3 (2014), The Raid 2: Berandal  (2014), Drinking Buddies  (2013) and Ghostlight (2013). Price of Red Scarlet camera is $9,700.

4. Sony Motion Picture Camera

Sony- a Japan based brand well-known since from its establishment for the manufacturing of top quality electronic equipments. Sony had developed high end professional camera models such as FS7, F5, F3, F55 and F65.Amonmg those five variant models, the cameras like F55, F3 and F65 are the industry professionals preferred cameras. F65 was launched two years back, it cost around $65,000, similarly the cost of F55 is ‎US$ 28,990.00 and cost of F3 is $13,960.00.

5. GoPro

After the Sony, ARRI and Red, the camera manufacturer name that that industry professionals recommend is GoPro. GoPro, Inc was founded by Nick Woodman in 2002.  GoPro cameras are compactable in size options, shock resistant and have waterproof casing structure. It is also a favourite camera of guerrilla filmmakers. The Premier Hollywood movie ‘Furious 7’ was completely shot on GoPro. Basic prize of GoPro camera starts at US$499.99.

6. Black Magic Camera

Black Magic Camera is one of the most preferable cameras of indie filmmakers and experimental filmmakers, why because it is cost less as compare with the big brands, also it gives better video outputs. Blackmagic Design is a product of Blackmagic Design Pty Ltd, an Australian Company that was founded by Grant Petty in 1984. You can grab a good high end digital film camera that branded by black magic for $2,995. Films like -Hero Punk (2015), Avengers: Age of Ultron (2015) and inside the belly of a dragon (2014) are shot on Black Magic Camera.

Shot Film On ‘Penny’ filmed  on Black Magic Camera

7.  Canon C300

Canon C300 is specially designed for film industry professionals: it is included with the core features such as Super 35mm-Size CMOS Sensor, EF lens mount and it highly compatible  with all of Canon’s new EF Cinema lenses. The movies that shot on canon c 300 are Her (2013), 20 Feet from Stardom  (2013), Blue Ruin  (2013) and R.A. Resident Advisor  (2012). The starting price of canon C300 camera is $6,999.00. <<

PS :
Thanks again everyone for stopping my Raven-mania; I owe You all an icecream, so next time You're in Denmark PM first !
   

NB : Yes, I know You want Peppermint choc chip, Squig ! ;-)

On 20/4/2016 at 10:32 AM, jgharding said:

Well I made my decision and can't say I'm unhappy.

Made a little noise torture test with Scarlet X, latest firmware, sensor newly calibrated.

For those unfamiliar, ISO is set in post with raw, while the exposure meter gives a preview of what your post settings will achive, as well as bars for total noise and clipping so you can see how much lights you're getting into the thing.

This is at effective ISO 25600 (12800 is max selection in Premiere, with 1-stop of FLUT push), shot at 10:1 compression (!)

Here you see the noise unprocessed, then with Neat Video, then unprocessed again. watch it in 4K a couple of times to get a good idea. The image is far far brighter than real life, it's a little shadowy corner with a tiny amount of natural light.

The joy of raw! As I test more I'm working out how best to use ISO to set where your dynamic range lives. In future I'd do all shots intended for high ISO at lowest compression just to get every bit of detail i can. I love that when it pans over to the leaflet you can read it all so clearly. Magic!

I knew it would be good but this is just... silly.

Don't worry though, I still love my Canons

The camera is extremly heavy with an Anton Bauer battery on the back, and with a Redvolt the battery life is abysmal, plus the footage is big and the media are nauseatingly expensive, so it'll never be as convenient as a C100. But god damn, tis pretty. Can't argue with 16-bit colour even when you're attempting to destroy it...

Neat Video 4.1 is a great update. It makes full use of powerful GPUs and has brilliant temporal settings that assist with low-frequency noise across time. Great stuff!

Glad You enjoy it jgharding ! ;-)   Hope to find one soon myself ...

Actually, in March a Scarlet-X was sold for $ 4.000 at reduser.net (with Side 1.8" SSD Module + Side Handle + AC Adapter + EF Mount), but presently the prices on reduser & ebay suffer from wild spring fever, people asking $ 14.625 for a bit more than was sold for $ 4.000 ! 
http://www.ebay.com/itm/Red-Scarlet-Lightweight-studio-package-/201565501300?hash=item2eee3d7774:g:6wUAAOSwyQtVlrxJ
Yes, it's an auction and I'll kick in where I can, so people don't get used to see this insane pricelevel ... 

Finally I must thank EVERYONE at this forum for, in so many different ways, helping me resist
buying "The Raven-package" and spending (EURO) € 10.000 which equals about $ 11.569 !
Thanks for "diverting my blinkers set for catastrophe" - honestly, I am VERY gratefull ... ;-)

As a matter of fact EU's import-taxes would only demand (EURO) € 9.000 [ = $ 10.412 ]
but RED apparently wants to earn 10 % more on Europeans ...

And for those who, like me would have ordered now, here's the nonchalant message from RED today :
"ORDERS PLACED TODAY EXPECT TO BE SHIPPED IN FALL 2016"

But, they kept their word and raised the "Raven-prices" with a $ 1.000 and for Europe of course with € 1.000 !

On 19/4/2016 at 8:24 AM, Jonesy Jones said:

There's a bunch of things to like about this camera concept, but as has been said, it's not a camera, until it's a camera. Ideas are easy. I thought they'd at least show us some footage from prototypes. Remember the digital bolex announcement? They had put enough of a camera together with like a computer chip in a cereal box to shoot a short film and at least give us a taste. But what is this render only nonsense?

Craft, if you are listening, we're on your side, we're rooting for you, but you are going to have to do a LOT better than that. We need to see a prototype. We need footage. And lot's more info. Hopefully your business model didn't require a bunch of deposits, because if so, I don't think we'll ever hear from you again. But please prove me wrong. If this camera could possibly be a reality you'd be onto something. Lead the way. 

OK, here's where we should help these guys ...!   NOT by supplying deposits, but by turning to competitors of the dominant
RED, BlackMagic, Canon & Sony !    I don't mean TerraTech (they'll do fine alone), but Panasonic, Samsung, Fuji and so on .
Maybe LG would be the perfect partner with their low prices for many high-quality-devices ?   Or ... Dare I say it ?  ARRI could
sell this camera by a blink of an eye ! ;-)   (We really do need some more, better & happier emoticons !)

I think these companies want a bit/bite of the cake and it would give healthy competition, heghtening the old companies quality
& specs/tricks and lowering their prices too !     Good for us consumers !    So let's address a petition to these newbies (except
ARRI of course) cause they know we're the 25.000 users (?) who'll make the opinions of tomorrow .  Just my 5 cents, folks ! 

I'lll bet an ice-cream one of the "new" companies will take CraftCamera serious (Just tell them, that the other companies ALSO
got invitations) and if THEY won't maybe INTEL or AMD could step in with processors !  I gave the idea, YOU make a petition !
NB :  This is NOT meant to ridicule the CraftCamera - I actually think a huge company would make this a success for both 


"Either this CraftCamera is dead or else my watch has stopped ..."

"How do we change the world ?" someone asked Solomon the wise .  "By creating it everyday !"

 

7 minutes ago, Bioskop.Inc said:

edit: FFS, just post a link, instead of all that shit!

 

If they can actually deliver & the image is good, then this could be a groundbreaking product. You could simply start off with a simple set up & use what you've got already. Then buy as you go, until you have what you want.

If it has a sensor as good as or better than the (put your camera of choice here - not going to get into that debate here), it'll be a winner?

And...look,...they...gave...you...120fps...for...all...you...slo-mo...freaks...!

I wonder if its the same company that was talking about doing a modular camera a few years ago? Think that might have been a photography camera though?

I'm posting all that sh.. here so there is an UNCHANGED COPY AT EOSHD.COM if someone at CraftCamera edits the terms ...
And for people to easier see it and discuus the small print !

31 minutes ago, sanveer said:

I don't know why nobody has thought or asked this:

1. If it is modular in the manner that it is, how study is it after connecting it the way it is. I hope it doesn't suffer from misalignment, breakage etc. 
2. I wonder how fast the modular connection port transfer is. Since it doesn't have a common motherboard, I am guessing the reliability of ports is far more important here.


I am guessing that the basic camera (that is sold) will have most functions, and the modules will add more, or improve existing features.
Someone mentioned that it won't work without the extra sound module. I am not sure that may be the case. It says, "AUDIO ELEMENT
Your camera "expands its audio capabilities" when you add the Audio Element. Features include 2 mic inputs with phantom power, balanced analog output, and 1/8” stereo headphone jack for monitoring."

Sound quality Improves (due to the preamps), and monitoring is available with the sound module. 

Actually mercer did approach Your subjects earlier, but I think there is one thing in particular everyone should take a closer look at and those who have legal minds can if needed warn us about any "future-incidents" and their eventual right to KEEP the deposits ...

                                 "Now the party of the first part shall be known in this contract as the party of the first part."
Here's their VEEERRRYY  long contract, I mean TERMS & CONDITIONS ...

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1 In the interest of resolving disputes between you and Craft in the most expedient and cost effective manner, you and Craft agree that any and all disputes arising in connection with these Terms or the use of the Service shall be resolved by binding arbitration. Arbitration is more informal than a lawsuit in court. Arbitration uses a neutral arbitrator instead of a judge or jury, may allow for more limited discovery than in court, and can be subject to very limited review by courts. Arbitrators can award the same damages and relief that a court can award. Our agreement to arbitrate disputes includes, but is not limited to all claims arising out of or relating to any aspect of these Terms, whether based in contract, tort, statute, fraud, misrepresentation or any other legal theory, and regardless of whether the claims arise during or after the termination of these Terms. YOU UNDERSTAND AND AGREE THAT, BY ENTERING INTO THESE TERMS, YOU AND CRAFT ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION.

2 Notwithstanding subsection (a), we both agree that nothing herein shall be deemed to waive, preclude, or otherwise limit either of our right to (i) bring an individual action in small claims court, (ii) pursue enforcement actions through applicable federal, state, or local agencies where such actions are available, (iii) seek injunctive relief in a court of law, or (iv) to file suit in a court of law to address intellectual property infringement claims.

3 Any arbitration between you and Craft will be governed by the Consumer Arbitration Rules (collectively, "AAA Rules") of the American Arbitration Association ("AAA"), as modified by these Terms, and will be administered by the AAA. The AAA Rules and filing forms are available online at www.adr.org, by calling the AAA at 1–800–778–7879, or by contacting Craft.

4 A party who intends to seek arbitration must first send a written notice of the dispute to the other, by certified mail or Federal Express (signature required), or in the event that we do not have a physical address on file for you, by electronic mail ("Notice"). Craft’s address for Notice is: 4355 Cobb Pkwy. Suite J109 Atlanta, GA 30339. The Notice must (a) describe the nature and basis of the claim or dispute; and (b) set forth the specific relief sought ("Demand"). We agree to use good faith efforts to resolve the claim directly, but if we do not reach an agreement to do so within 30 days after the Notice is received, you or Craft may commence an arbitration proceeding. During the arbitration, the amount of any settlement offer made by you or Craft shall not be disclosed to the arbitrator until after the arbitrator makes a final decision and award, if any; provided that if our dispute is finally resolved through arbitration in your favor, Craft shall pay you the greater of (i) the amount awarded by the arbitrator, if any, and (ii) the greatest amount offered by Craft in settlement of the dispute prior to the arbitrator’s award.

5 In the event that you commence arbitration in accordance with these Terms, Craft will reimburse you for your payment of the filing fee, unless your claim is for greater than $10,000, in which case the payment of any fees shall be decided by the AAA Rules. Any arbitration hearings will take place at a location to be agreed upon in Fulton County, Georgia, provided that if the claim is for $10,000 or less, you may choose whether the arbitration will be conducted solely on the basis of documents submitted to the arbitrator, through a non-appearance based telephonic hearing, or by an in-person hearing as established by the AAA Rules. If the arbitrator finds that either the substance of your claim or the relief sought in the Demand is frivolous or brought for an improper purpose (as measured by the standards set forth in Federal Rule of Civil Procedure 11(b)), then the payment of all fees will be governed by the AAA Rules. In such case, you agree to reimburse Craft for all monies previously disbursed by it that are otherwise your obligation to pay under the AAA Rules. Regardless of the manner in which the arbitration is conducted, the arbitrator shall issue a reasoned written decision sufficient to explain the essential findings and conclusions on which the decision and award, if any, are based. The arbitrator may make rulings and resolve disputes as to the payment and reimbursement of fees or expenses at any time during the proceeding and upon request from either party made within 14 days of the arbitrator’s ruling on the merits.

6 YOU AND CRAFT AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN YOUR OR ITS INDIVIDUAL CAPACITY, AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Craft agree otherwise, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.

7 In the event that Craft makes any future change to this arbitration provision (other than a change to the Craft’s address for Notice), you may reject any such change by sending us written notice within 30 days of the change to Craft’s address for Notice, in which case your account with Craft shall be immediately terminated and this arbitration provision, as in effect immediately prior to the amendments you reject shall survive.

8 All aspects of the arbitration proceeding, including but not limited to the award of the arbitrator and compliance therewith, shall be strictly confidential. The parties agree to maintain confidentiality unless otherwise required by law. This paragraph shall not prevent a party from submitting to a court of law any information necessary to enforce this agreement, to enforce an arbitration award, or to seek injunctive or equitable relief.

9 If only Subsection 6 of this section or the entirety of this section is found to be unenforceable, then the entirety of this section shall be null and void and, in such case, the parties agree that the exclusive jurisdiction and venue described in the "Miscellaneous" section shall govern any action arising out of or related to these Terms.

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No agency, partnership, joint venture, employer-employee or franchiser-franchisee relationship is intended or created by these Terms.

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These Terms, whether interpreted in a court of law or in arbitration, shall be governed by and interpreted according to the laws of the State of Georgia as they apply to agreements entered into and to be performed entirely within Georgia by Georgia residents, and without regard to conflict of law principles. To the extent that any lawsuit or court proceeding is permitted hereunder, you and Craft agree to submit to the personal and exclusive jurisdiction of the state courts and federal courts located within the Northern District of Georgia for the purpose of litigating all such claims or disputes. These Terms (including the various additional terms incorporated herein by reference) constitute the entire agreement between you and Craft, and supersedes any and all prior agreements, negotiations, or other communications between you and Craft, whether oral or written, with respect to the subject matter hereof, and, except as expressly provided herein, cannot be modified except in writing signed by both parties. Except as set forth in Section 6 of "Dispute Resolution" above, in the event that any provision of these Terms is held to be invalid or unenforceable, then: (a) such provision shall be deemed reformed to the extent strictly necessary to render such provision valid and enforceable, or if not capable of such reformation shall be deemed severed from these Terms; and (b) the validity and enforceability of all of the other provisions hereof, shall in no way be affected or impaired thereby. You agree to abide by all applicable laws in your use of the Service, including export control laws and similar regulations governing the transfer of software and other technology outside of the United States or other jurisdictions. You may not assign these Terms without the prior written consent of Craft, whether expressly or by operation of law, including in connection with a merger or change of control, and any such attempted assignment shall be void and of no effect. Craft may assign these Terms without restriction. Subject to the foregoing, these Terms shall be binding on the parties and their respective successors and permitted assigns, heirs, and estates. You acknowledge and understand that if Craft is unable to provide the Service as a result of a force majeure event Craft will not be in breach of these Terms. A force majeure event means any event beyond the control of Craft. The failure to exercise, or delay in exercising, a right, power or remedy provided in these Terms or by law shall not constitute a waiver of that right, power or remedy. Craft’s waiver of any obligation or breach of these Terms shall not operate as a waiver of any other obligation or subsequent breach of these Terms.

Contact

Please send any questions or comments, or report violations of this Agreement, to the Company through our contact page, accessible from our website at craftcamera.com, or at Craft Digital Systems, Inc., 4355 Cobb Pkwy. Suite J109 Atlanta, GA 30339.

1 hour ago, DBounce said:

Ok, it looks cool. But those pictures look like renders. Has anyone seen a real camera? Also, 13 stops of dynamic range is not amazing when compared to the competition. Points for the global shutter... if it happens.  Will definitely keep an eye on them to see how things progress.

Actually 13 stops is high for Global Shutter; the Terra5K has 13 stops for Global and 15 for Rolling shutter ! 

1 hour ago, sanveer said:

13 Stops of Dynamic Range at 120fps is actually pretty cool.
Also, the whole Modular Components bits is actually path breaking. I think its a superb idea, and more than anything else, I am dying to know how well it is implemented. 

And at 120 fps I have to agree that it's cool - and I was against it !   But still a possible scam ... 

1 hour ago, Zak Forsman said:

more like 5 hours to go.

Really ?  You see Denmark use 24 hours; not AM/PM - and how many timezones has US ?
24:00 may be more military-like, but we avoid mistaking "AM-meetings" for "PM-meetings" !
   At least we keep the thread active ...  and up front !

12 more (or 13 hours) to go, this is going to be exciting ! I'll bet an Ice-cream on it's a legitimate company with a forgettable strategy ...
At least it's cheaper than Raven and I get a free bonus in the SM-club !   Plus a freee 1-cent donation for the politically incorrect ($)

Quote

On April 18th around 12pm EST, we will announce Craft Camera on craftcamera.com. 

 

1 hour ago, squig said:

Yeah all those films were made prior to ML raw, and there's a huge IQ difference between H.264 and raw on the 5DMK2/3. Since then the BMCC and BMPCC have been the crash/compact cams of choice for a lot of productions. I haven't heard much about Magic Lantern being used on big productions, I think mostly because of the hack stigma, and lack of knowledge about how good it is compared to the BMPCC in particular.

Peppermint choc chip thanks.

OK, I just learned Magic Lantern RAW came out June 2013 ...   So now we all know !!!    And let THAT be a lesson for kids ...
I apologize for my peasantly ignorance, how stupid of me assuming that RAW was enabled from the start in autumn 2009 !
So, it took them 4 years to make RAW without audio recording ?   And till this day only 1 = 5DMK3 can shoot fullHD, stabile ?

But apparently 5DMK2 makes footage good enough to be part of famous films ?  Without ML RAW ... or RRROOOAAARR ?
BTW ... does Magic Lantern still disable auto-focus in movie mode ?!?!?

 And what else haven't You told me Chico, erh, I mean squig ? 

PS :   BUT I know something more than YOU, SQUIG !!!  And probably lady "Kubrick" too ..... 

Quote

I haven't heard much about Magic Lantern being used on big productions, I think mostly because of the hack stigma, ...

"Magic Lantern is not a "hack", or a modified firmware, it is an independent program that runs alongside Canon's own software. Each time you start your camera, Magic Lantern is loaded from your memory card. Our only modification was to enable the ability to run software from the memory card."

AND    "It does not replace the existing firmware, but instead runs along side of it. There is no need to "uninstall" it -- simply format your card to reboot to the stock Canon firmware."         http://magiclantern.wikia.com/wiki/Magic_Lantern_Firmware_Wiki 
 

Nothing here ...

36 minutes ago, kaylee said:

we were talking about 5d3 raw with magic lantern specifically. unique look and workflow

Excuse me, but I know what you were talking about ...And I'll bet an Icecream on that these 5DMK2 had their Magic Lantern turned on as well 
And searching for specific 5DMK-3-movies (more famous than an tarctican horrorfilm) didn't give useable results + Nikon seems to be usefull too !

31 minutes ago, Zach Goodwin said:

Would it be safe for me to say that is typical reduser bullshit?

Actually, Im looking into NIKON's D810 instead of CANON 5DMK3 (But I still think that filming might be easier with a RED Scarlet-x MX !)
These 3 are the current top-candidates on my - as You can see - very flexible list !
Remember, I practically "begged" You to stop me from spending a Raven fortune and I thank You all - no exception !  ;-)

NOT EVEN AaronChicago & Jimmy who tried to "tootsie-frootsie-icecream" me into buying "a "Boeing 747" ... 

10 minutes ago, Zach Goodwin said:

Would it be safe for me to say that is typical reduser bullshit? You know having to make constant excuses because it is shot on a RED.

NO ! I'm considering reporting You ...  (Just joking !)  But take a look at my answer to Ebrahim Saadawi :

Do yo have a preference to a
certain company colour sceince?                               Not really, I was a CANON-Cam-fan and discovered the un-ergonomic C100 ...
                                                                                   Then looked at SONY VG900, X70, A7S2, FS5 and then B.M. Ursa Mini 4,6 K
                                                                                   failed the promised global shutter until RED's Raven and now i look at old REDs ...

And then take a look at my latest post :

Just a few Movies Filmed with Canon and Nikon DSLR Cameras untill 2014 ...   (by montanafilmmaker)

Black Swan (2010)   “ Canon 5D Mark II and 7D used in conjunction with 16mm film cameras. ”

3 hours ago, kaylee said:

@squig i love all your posts in this thread

so cool that youre shooting your film (a feature??) on 5d3raw. to be honest ive been thinking for a while about doing the same thing for my first feature...old lenses, anamorphic maybe. so, thats inspiring for me, v cool...

do you know of any features that have been shot on 5d3raw? something ive wondered about...

Just a few Movies Filmed with Canon and Nikon DSLR Cameras untill 2014 ...   (by montanafilmmaker)

Black Swan (2010)   “ Canon 5D Mark II and 7D used in conjunction with 16mm film cameras. ”

127 Hours (2010)   “ The Canon 5D Mark II, 7D, and 1D Mark IV were all used, in addition to other cameras. ”
 
The Avengers (2012)   “ Canon 5D Mark II and 7D used as additional cameras. ”
 
End of Watch (2012)   “ Canon 5D Mark II and 7D used as additional cameras. ”

Elysium (2013)   “ Canon 5D Mark II used along with the RED Epic. ”
 
Drive (2011)   “ Canon 5D Mark II (some shots) ”

Margin Call (2011)   “ Canon 5D Mark II (driving scenes) ”

Wilfred (2011 TV Series)   “ Season 2 and onward is filmed entirely with the Nikon D800.
Cinematographer likes to use the 50mm f/1.2 AIS lens for it's extremely shallow depth of field. ”

Dexter (2006 TV Series)   “ Nikon D800 used for lots of the show. ”
 
Portlandia (2011 TV Series)   “ Canon 5D Mark II used for Season 1 and 2. ”

House (2004 TV Series)   “ Canon 5D Mark II used for Season 6 finale "Help Me". ”

ParaNorman (2012)   “ Canon 5D Mark II ”
 
Act of Valor (2012)   “ Canon 5D Mark II, 7D, and 1D Mark IV used along with other cameras. ”

Snitch (2013)   “ Canon 5D Mark II (some shots). ”
 
Red Tails (2012)   “ Canon 5D Mark II, 7D, and 1D Mark IV were the primary cameras used on the film, along with a Sony camera. ”

The Bourne Legacy (2012)   “ Canon 5D Mark II (some shots) ”

Frankenweenie (2012)   “ Canon 5D Mark II ”

Limitless (2011)   “ Canon 5D Mark II and 1D Mark IV used for some shots. ”

Thor: The Dark World (2013)   “ Canon 5D Mark II (second unit: crash camera) ”
 
We need to talk about Kevin Costner (2011)   “ Canon 5D Mark II and 35mm cameras used. ”

4 hours ago, Zach Goodwin said:

In terms of noise properties The RED can be just as bad as any canon camera. In fact here is a scene from Dredd which used a RED camera: 

 The Beginning part with the security camera was shot with it.

Come on Zach; can't You see they made that on purpose ?!?
To illustrate there's cheap low-quality Mitchell surveilance-Cameras everywhere in the dystopian future of Dredd ...
Or maybe a parallel to the gloomy, claustrophobic, polluted, rainstained image/feeling of "BladeRunner" ?
Or the handheld "reality&documentary-style-movies" like "Blair Witch Project", "Cloverfield" etc. ?

Really - You MUST be joking !  (So am I with the surveilance-Cameras above ...)
It's like when Pink Floyd did a noisy radiotuning search in the start of "Wish You were here"  So be here, tech-competitors !  ;-)

PS :   We really need some more happy emoticons in the forums toolbox  !!!

30 minutes ago, squig said:

The 5D MK2 doesn't do full HD, slightly less. If you really want to you can record good quality sound on a 5D MK2/MK3 with a juicedlink pre-amp, but it's more professional to record dual system sound with a boom. I don't use EF lenses, I use 60s/70s era Leica-r lenses and Iscorama anamorphic adapters. If you want a filmic Bergman like quality best to go with vinatge glass.

Canon says 5DMK2 shoots HD 1920 x 1080 (16:9) - like 5DMK3  ... but maybe not with Magic Lantern ?
I meant, what focal length suits 5DMK2/3 if You want the best cinematic filmlook ?  The famous 28mm ?

11 minutes ago, squig said:

You're better of using the money you'd spend on a Red to buy better sound gear and lighting, and better food for your actors.

Better sound & light, mmm, yes ... but better food ?!?!?   I just keep my actors fed with garbage in my cellar-dungeon ! 

28 minutes ago, squig said:

Magic Lantern doesn't work on those cameras. 2K is only a very slight uprez from HD and won't cause any image degradation. Plenty of films have been shot in HD uprez'd to 2k.

OK, and thanks for helping !  A 5DMK2 with VAF-5D2b filter may be ideal (and cheap) to start with - I just feel terrified about the idea of
getting sound on this combo, not to mention using 2 XLR-units !    What is the ultimate "cinema-lens" for 5DMK2  :  24mm, 28 or ?

5 minutes ago, squig said:

Magic Lantern does 2.39:1 but only HD. The 1dx MKII or 1dc would be closest look wise but only they're only 8bit. The Blackmagic Pocket and Micro come close but the image isn't as magical as the 5D raw. 4K is a big wank to try to convince consumers to buy more shit. I'm happy with the HD resolution from these cameras, I'm much more interested in extended dynamic range than I am in 4K.

HD, not 2K as the Cinemas use for showing movies ?  Can I use Magic Lantern at 2.39:1 HD/2k ON the 1dx MKII or 1dc ?
Ahh, You mean they have 4K, but only in 8-bit ... 

1 hour ago, squig said:

Lulz! When I posted the first vid of Magic Lantern raw (it could only record 2 seconds at that point) the "cynical assholes" said it would never work. A few days later I posted a 1 minute ML raw vid. Soon after that ML cracked the 4Gb file size limit. To this day some cynical assholes are still saying it doesn't work (unreliable). Bullshit!

I've never been a Red fanboy. I had access to a Red One at film school, but I shot everything with my 5D MK2, and I've been filming with DSLRs ever since. The BMMCC is my first 'digital cinema camera'. The 5D MK3 with Magic Lantern is still the camera I film with, it's quite erm magical . A friend offered to shoot my film with his Dragon but I said no thanks. The whole Red attitude thing turned me off them. Working with a small dedicated crew of hackers who are way ahead of the game is more my style.

Interesting; Magic Lantern gives 14-bit uncompressed RAW video to a CF/SD card, but only in HD or 2K format ?
Any Camera compatible with this "Magic" doing 4K, specifically 2,4:1 Ratio ?  >29 min. ?  Slow motion in 4K too ?
It's full frame, so that would imply 4,5 K to cut it and achieve the 2,4:1 Ratio in 4K !  Canon colour & low light ... 

2 hours ago, HelsinkiZim said:

TLDR; Get the RED because making videos these days is not a frat whereby you need to do time in the ranks.

I respectfully disagree. Not trying to troll, but I think we like to create barriers that don't exist in this profession, as it is a natural response to the commodification of industry that technology advancements are driving. It is the same feeling the taxi drivers had in France when Uber started to be a threat, the natural reaction is to try to protect the many years and hard work you have put into becoming a professional. But the 'technology of things' is allowing the next generation to get to your level of professionalism faster than it used to. Filmmaking went from being a craft to a skill to a hobby in such a short amount of time that my head is still spinning.

In every profession you start as an amateur and at some point you realise that you are in fact a professional. For doctors, lawyers, scientists and other professions where your blunders can possibly kill people, there are obviously a lot of hurdles you have to jump before you can pop that MD on your business card.

Film-making is not one of these professions. In fact the whole allure of independent filmmaking is that you grew up hearing stories of people who begged, borrowed or put on credit (or stole, in Werner Herzog's case) the monies to fund their first feature. Did Rodrigeuz or Tarantino know the benefits/ limitations of every single camera on the market before they decided they wanted to play with the big boys? I doubt it.

They figured it out along the way because they knew they were not trying to build a jet propulsion engine. They were making a movie. Now we cripple ourselves by thinking about the mechanics and science of every last detail that we end up making really 'safe' choices that add up in time and money over the years trying to plug holes in deficiencies (sound capture, monitoring, ergornomics, time in post...), and most would have been better off just taking the big risk to begin with.

To make an analogy, I feel like we are car enthusiasts, in a sense that, DSLR users are like the guys who buy a Ford Escort hatchback and spend money on souping up the car so it sounds and speeds like a high end sports car... but it is not a Bugatti, no matter how hard it tries. But what is happening is the price of the jacked up Ford Escort is coming closer to a base model BMW, metaphorically, so you might as well get the beamer.

But in a sense you are right that, due to pure statistics of how many people have failed at making a living in this business, both hollywood and work-from-home/ small office video production... it is wise to advise someone against putting themselves in financial distress over a camera system when something much cheaper essential would satisfy their potential clients/ cinematic needs. Its a fools gamble to take if it affects the well being of you and your family.

But if you are suggesting that there is a learning curve that takes "months/years/decades" for someone to learn how to get the best out of a camera you own and could afford, that is a bit pessimistic. With Andrews guide, the manual, vimeo project descriptions/ comments, youtube tutorials and a few weeks trial and error - I think you would be very well informed about the GH4. Especially if you have been using prosumer cameras for a few years.

I just feel that if you feel you can afford it, get the best camera you can buy and spend the years learning how to use it to tell a variety of stories or projects, rather than a camera that is best for niche subjects.

The idea that training wheels are still needed in the video game is not as true as it used to be when every aspect of a production was a mystery. 12 years ago if you wanted to know how to focus pull, someone would physically have to train you because who the hell could afford a follow focus system. The same with motion graphics, who had a computer powerful enough to learn at home in their underwear. Who could afford anything but a zoom lens for their XL1, if you wanted to understand how lenses worked you had to assist a pro.

Anyways, I conclude that we should not discourage people from punching above their weight because it is never a matter of IF they will ever figure out how to max out the camera, it is only when and we should not underestimate the power a young, hungry individual with time and the power of a google search. I would advise to spend those months and years with a Red rather than a GH4. It makes no difference really.

 

I'm playing the name the next RED game. It's fun, you should give it a try! Think of the most macho words you can imagine and up the specs!

Right ! "not a frat whereby you need to do time in the ranks"  Thanks HZ, You nailed the pyramid-thinking well-meaning people exhibit and exert on others ... And speak about automatic reactions & recordings :

A ROBOT-camera that shoots the whole movie for You !  The RED® WARPDRIVE 666 w/ TERMINATOR-X SENSOR™® - 32K (3.000 FPS)

3 hours ago, Ebrahim Saadawi said:

Can you make a list of what you ''need'' in a camera?

The features you'll absolutely need for making your projects (I know you tried before in page 2 but really didn't, you said you needed a scarlet)

So tell me what do you want in a camera so I'd help you choose the best for YOU?

Things to consider in answering:

-Resolution 
-Frame rate
-Low-light ISO performance you shoot at
-Colour grading/push-ability of the images
-Dynamic range, super important? or do you light your stuff creatively?
-Shoot doc type or narrative/controlled type?
-Need good in-camera audio? XLR microphones or use external recorders?
-Need internal NDs, Auto exposure, 
-Want Auto focus?
-What lens mount lenses will you be using?
-Battery requirements, will you be wanting an internal small battery that shoots all day or fine with a V-Lock?
-Size/weight? can you use a DSLR to rig or want a modular RED/Cube or an FS7/C300 camcorder type?
-Does the brand of the camera affect your clients (example: having a red get you more clients/higher fees than a BM/Canon?)
-Do yo have a preference to a certain company colour sceince? Some people really hate Sony colours and S-LOG and love Canon and ARRI colours or REDs?
-Maximum budget in US dollars

(btw don't fall in the trap of thinking 10/12bit is the holy grail and what makes a difference, it's much more than that. For example, a 12bit raw image from the BMP4K is LESS gradeable and pushable than an 8bit 4:2:2 image from a 1DC, so don't get too caught in the specs, look at the IMAGES, which are made up of sensor quality, processing, colour science, etc, not just the codec. Some camera compress extremely nicely, really really nicely! - the above mentioned points are way more important than a bit-depth spec)


"Filmmaking really began with technology, not through telling stories,
because my 8mm movie camera was the way into whatever I decided to do.
-Steven Spielberg"

Yeah, good Spielberg-quote !  I like his (at least claimed) social attitude to filmmaking as a building-team, but I actually use a Clint Eastwood-like effective production and try to direct the beautifull way he handles actors ... One of my actors told me I was directing the same way Susanne Bier
did which I don't think is a compliment, so I hope to grow as great as Clint, become as skillfull as Kubrick and balance mainstream with depth !
Talk about marathon-ambitions ...        NB : A smal notice for Ebrahim Saadawi - Scarlet is just a reference for me !

-Resolution :    I may have to settle with 2K (if 4K is too much to handle) for the project waiting, but I really look forward to Ratio 2,4:1
-Frame rate :     Not decided as Europe uses 25, but 24 is said to give a better look; could be due to electricity frequence-difference
                          US 60 Hz/ Europe 50 hz and then I would like to use some Slow Motion frame rates which has to be shot at 2K since
                          Scarlet don't do Slow Motion 4K and it looks like used Epic MX are still way too expensive .

-Low-light ISO performance you shoot at :                 A few scenes outdoor night, but mostly indoor evening, a little bedroom-darkness
-Colour grading/push-ability of the images :               I would like to have some post-room if I get extreme or creative ...

-Dynamic range, super important? :                           The Scarlet range with HDR as an occasional possibility, is very OK
or do you light your stuff creatively? :                         I use the "normal available light + 2 variable spots for creativity

-Shoot doc type or narrative/controlled type? :           Next project mainly fiction, so narrative at the moment

-Need good in-camera audio?  :                                 I hate bad sound in movies, but hope Scarlets inputs wiil be sufficient
XLR microphones or use external recorders?            I have both jack and XLR-mikes and is newbie at sync, but considering external recorders

-Need internal NDs, Auto exposure :                          Nah, will use matte ND's ... trying to avoid auto exposure
-Want Auto focus? :                                                    Auto Focus would be very wellcome, but not so imperative

-What lens mount lenses will you be using?               EF (at some future-point I will start using PL as there are obvious benefits)

-Battery requirements, will you be wanting
 an internal small battery that shoots all day              I often use available AC-plugins at indoor-scenes since my old lamps used 230 Volt ....
 or fine with a V-Lock? :                                              "Internal small battery that shoots all day" ?  Has it been invented ?   V-lock is perfect


-Size/weight? :                                                             A 10 lb RED ONE is for emergency-plan C ... 5 lb and below
 can you use a DSLR to rig or                                     If I wanted 8 bit I'd go for Sony FS5 or even consider Sony A7S2
want a modular RED/Cube or                                     A 12 lb FS7 is for emergency-plan D ... 13,2 lb ? + I hate C100/300's bad ergonomic grip
an FS7/C300 camcorder type?  :                                Modula RED used Scarlet MX (or a cheap Epic MX) looks good,
                                                                                    Ursa Mini 4,6 K is changed to emergency-plan B

-Does the brand of the camera
affect your clients :                                                     Not the present one, BUT the BM-support seems mediocre and
                                                                                   Kinefinity's Chinese support is unknown ...

-Do yo have a preference to a
certain company colour sceince?                               Not really, I was a Canon-Cam-fan and discovered the un-ergonomic C100 ...
                                                                                   Then looked at Sony VG900, X70, A7S2, FS5 and then BM Ursa Mini 4,6 K
                                                                                   failed the promised global shutter until REDS Raven and now i look at old REDs ...
                                                                 
Some people really hate Sony colours
and S-LOG and love Canon and                                Sony RAW can be fixed in post, Canon C-XXX should have great colours,
                                                                                    uncertain about BM's, but ARRI was amazing in "Game of Thrones" !
ARRI colours or REDs?                                              However RED seems to do fine in many movies ...

-Maximum budget in US dollars                                 Raven basic package in EURO

AND I cannot agree with You on bit-importance; I have recorded before on 8 bit, but I can see it gives a cartoon-like neon-result,
I have wellknown danish painters on both parents side and able to see the difference in amount of colours !   I can actually taste
Umani as well as taste red from white wine blindfolded ... Fortunately .

8-bit 256 different values, 10-bit 1024 different values, 12-bit 4096 different values,14-bit 16,384 different values, 16-bit 65,536 different values
Movie Pro's use 16-bit or more and some directors or photographers might have some supersenses making pictures more beautifull for You all ?

28 minutes ago, Mattias Burling said:

The Red One MX has solid and locking mini XLR connections that provide nice audio from a regular XLR mic. No mystery.
 

OK, thanks, but do these mini-XLR give Phantom-power to mikes ?
And does the other REDs like Scarlet & Epic have mini-XLR or just mini-jacks ?
RED is very vague about the information and can't find the Watt-use either ...