Alt Shoo

It’s not too known that JVC’s now defunct subsidiary company AltaSens created the sensor that is inside the LS300. Maybe JVC designs their own sensor again!

In my long post I previously shared, I wanted to also address the idea behind why I feel JVC should produce a 6k or even 8k resolution cinema camera, but time didn’t permit. Here are my thoughts. It is well known that a camera with higher than 4k resolution will allow users to render more than decent 4k, which we have with the previous model. It’s also known that many users agree that with a higher resolving sensor, one can re-compose during post. No matter how much you plan, there’s always something you wish you could have captured in post. This choice allows users to append a decision! Now this 6/8k may just be decent, but I’d take quality 4k resolved from a higher res sensor any day than just decent 4k. In regards to marketing, it makes sense as well because that’s where most of these companies are leaning, especially Sharp another unfashionable company. It also ensures a longer camera life if it is “future durable”. The market is moving fast and I think it’ll be a lost for JVC, not to participate in the strategies other companies such as Sony and Panasonic are diving in. This strategy also coincides with why going full frame is the better choice. It just makes marketing sense! Yes there are plenty supporters for MFT and S35, I’m definitely one! I enjoy the affordable choices and features using this format and I have a humble collection of these lenses. In fact most of my lenses are MFT, but the market predicts that full frame is where a lot of users are going. Also I’m quite sure that they will incorporate their lovely VSM technology, so with an affordable adapter, users can still utilize what’s in their collection. Still with these choices, JVC has to endure a proper form factor, durability and access to current trending accessories! I think a form factor between mirrorless cameras and smaller cinema cameras like the Eva1, with the necessary bells and whistles will be a logical choice for JVC to become in vogue.

If they could get it into that form factor with the necessary bells and whistles I will support it wholeheartedly because it’ll be easier for gimbal work!

I believe that JVC is more aware of the market this time, but wants to be safer with this device. I say that because the brunt of JVC’s market share comes from the ENG side of things, hence the subdued attitude towards the LS300. That was one of the camera’s aspects which made it a sleeper because most cinematographers don’t look to a company like JVC for a cinema specific tool. Then when JVC hampered the LS300 with capture codecs usually meant for deliverables, that put the shade down for more prospective users. The frail feeling body and lackluster monitoring tools didn’t help much either! Another aspect of the LS300 that most didn’t understand and seemed to leave a perpetual confusion amongst our peers, is the MFT mount JVC decided to use with a S35 sensor instead of something more “logical”. Even with all of the data JVC left in their white papers, sadly most couldn’t wrap their heads around it. I’m not sad about JVC using the MFT mount at all because that was an excellent choice, but sad about the reading comprehension our peers lacked and still when that idea was discussed to no end in the simplest of ways, the concept of using an MFT mount with a S35 sensor was just lost on many. JVC’s marketing was also shabby because they didn’t get this device into the hands that mattered and the few that they did, really didn’t showcase it properly. Then you have the Blooms of the world, who with their ever increasing condescending attitude towards “regular” people, not even showcasing this device properly, which just made potential users look elsewhere. With this impending release, JVC has to separate the concept in users mind that this isn’t an ENG camera and that crowd is kind of annoying because I believe they also had a hand in how the device eventually ended up because of the requests made in their groups. On Facebook there are two serious groups devoted to this camera. One being an ENG related group and the other geared towards cinema using the LS300. In the ENG group the things that are requested, while excellent for those types of users, was just plain annoying for cinema type users. I won’t get into the specifics, but I believe that’s what helped to keep the LS300 in this gray area of the market. Now here’s an opportunity for JVC to appropriately segment their ENG line of cameras, which they have an abundance of, from this Cinema camera they are producing! They need to get it right and this survey is wonderful! I truly believe a Full Frame sensor will be a wonderful choice, S35 is awesome too, but the market is heading towards Full Frame and JVC needs to be a part of this, with the capture codecs serious cinematographers are requesting! While I’m a big supporter of more resolution and all things 8k, I think 6K without any cropping in the “regular used” framerates would be the happy medium. I also think JVC needs to be forward thinking and have internal SSD recording capabilities like the have on their newly released ENG inspired camera the GY-HC500USPCU. There’s more that I would like to address, but this post is getting too long and my family is ready to enjoy this Father’s Day with me!

I also said the same thing about making the body durable. I also mentioned a better monitor as well.

@Kisaha there was a question asking if they released a new Camera this year how likely would you purchase it. I’m actually hoping that they do a Full Frame cinema camera with all of the bells and whistles that’s been talked about recently.

From the looks of the information in the survey, they are trying to get the camera price around 4 grand and it looks like they are pushing it for this year. Also in the survey there are talks about 6 and 8k resolutions and RAW internally!

Funny because there are a lot of “cinematographers” who are purchasing these devices just to document their pets! And truthfully if that is what they want to do, I’m for it!

Please submit your suggestions and remember to make it good! http://pro.jvc.com/survey

@mirekti whoa! The PD is plenty faster!! I wonder how the iOS version fares.

Reminds me of the attitude most displayed when JVC released the GYLS300. Just writing it off because it’s not the usual suspect in cinema cameras. Sharp may surprise us with something special, or it may be another product with undelivered promises. Either way it’s a step forward to bigger and better tools.

Z-Cam is a company that is going to disrupt some concepts in the cinema camera industry. After NAB, there should be some insight for many cinematographers on what gear to invest in. Z-Cam and their offerings will be on the short list for these individuals, including myself.

Interesting! Does this interfere with any of its external video functions?

Coolio!

Why does the footage look like it still needs desqueezing?

I actually made one before this challenge. The only thing is I don’t have the BTS for it. We filmed this in less than three hours at Youtube Studios in Manhattan and I edited it in about thirty minutes because everything was shot in sequence. Could I share?

Interesting! If the video specs are ideal, this may be my first full framer!

It’s so funny that I was literally thinking that same thing! If we just flooded the JVC Facebook page and ask for the updated GYLS300!!! Lol I’m serious.

Yea 150 mb in 4k is also pretty decent. I would say that I filmed most of it with the internal codec and the remainder in Pro Res using the BlackMagic Video Assist 4K.

The JVC GYLS300 in 2019 is still very much relevant! It is so relevant that I’m wrapping up a documentary that is 90 percent filmed with it. Not diminishing the importance of this medium, but this isn’t a “Micro Documentary” that will be released on YouTube. It’ll be a feature length documentary that will have some historical merit within Hip Hop and Pop culture in general!! If it wasn’t for the ease of use and IQ of Gyls300, I truly would have had some difficulty capturing the moments I tried to highlight. I know it’s an older tool, but the technology is still useful and any skilled camera op, would be able to make this camera shine!

Here’s a screen grab from an interview I filmed with the Gyls300 in Delaware.

@kye I agree wholeheartedly! Regarding the Gyls300 VSM, that is one of the more useful features this camera has! I truly hope that JVC brings out a successor to this sleeper hit camera. To me, the color science is superb and that Alta Sens sensor is something special!

Yes I’m super aware that the Gyls300 has broadcast ready codecs, but the distribution network I’m using for the project I’m working on, requires certain requisites. The similarities of these cameras are of course the form factor, built in ND’s, manual buttons for camera settings, ease of use, very usable mic pre’s, image quality, crappy monitor lol and good battery life! The differences are the codecs, lens mounts, VSM only on the Gyls300 and the type of storage for internal 4k DCI. For the Panasonic you need a very fast SD card to gain that option. The MFT offers full coverage of the super 35 sensor and is the perfect mount to attach almost any type of lenses! If need be, you can also easily attach a microscope to it! Then use the VSM feature to adjust the image to prevent vignetting!

Thanks! I really thought I was not going to capture any decent footage. The young man was just too fast. Lol. Considering that I also fly a Panasonic Eva1 and a few other cameras, I just always seem to grab the Gyls300! I enjoy using it because it’s simple to use. Some of the things that make me grab it before the others is the battery life and the codec, which allows me to use humble SD cards. These cards don’t have to be the fastest, yet I’m allowed to shoot DCI 4k! I also enjoy the VSM (variable scan mapping) feature, which essentially turns my primes into zooms, with no loss of quality. One of the features that I never worried about , but is now a de facto necessity for whatever camera I ever consider getting and that is the built in ND filter! For this shoot I opted to film in HD 60p instead of the internal slow mo, to limit the crop and the loss of a stop. As I mentioned earlier I also own various cameras and the only reason I bought the Panasonic Eva1 is because it reminds me of the JVC, but with a more robust codec, which I intend to utilize only because the medium for which I’m releasing the project on requires it. If not for that fact, I would be using the Gyls300 all day! Thanks again!

Thanks! Yes I edited it.