Andrew Reid

  Bullshit. I have seen for my own eyes putting more powerful equipment in the hands of aspiring filmmakers does inspire them, does improve their cinematography and does allow them to get noticed. This community wouldn't even exist if it wasn't for the gear.   You won't know any of my work if it wasn't for this platform, which is based on the gear.   Let's knock this content is king nonsense ON THE HEAD permanently from now on. OK?

  The GX7 isn't aimed at the video crowd, the GH3 is!   If I were Panasonic I'd send a supply of sensors in Olympus's direction for a supply of IBIS in the other direction. That would cut Sony's seeming monopoly on sensor supply too.

  The codec is a bit too weak to go flat, I just set it to Vivid for rich tonality and used the GH3-Vivid preset in Film Convert. Not received wisdom but I did several tests with the picture profiles and that was the one that gave the nicest results.

  Really, all of it? Because I shot the last sequences on a 5D Mark III in raw :)

Check EOSHD 5am GMT Friday 7th

Nice to see you here Stefan. I've changed the article to be more specific and yes Anthony was the DP on Slumdog. He was quite an early adopter of digital, lots of pioneering work! Love it. Maybe Canon should re-phrase their PR text to make it clearer what your role on Slumdog was as well, as B-camera operator and supervisor of the SI-2K http://www.canon-europe.com/About_Us/Press_Centre/Press_Releases/Consumer_News/News/Berlinale_Talents_2014.aspx   Yes would indeed like to meet for a chat. Did you ever find a Blackmagic to have a go at grading it?   Cheers!

A noble cause but Blackmagic have already done the same thing... with digital.

How much time into prep? Zero. It was a spontaneous thing really.

One turnip for effort, silver for performance :)

Select ProRes 444 in your Premiere timeline settings and don't edit in native H.264.   Export in ProRes 422 Proxy.   Simples :)

  Why does 'content' always get reduced down to 'story'. I've seen a lot of great stuff that has absolutely no story whatsoever!   I see this also in marketing and in the workshops, it's always a focus on story telling.   Story telling like a children's book :)

  I actually consider gear to be part of the content. It's the camera and lens that helps shape the look and mood of the content. And without the 5 axis stabiliser this video wouldn't have had the same spontaneous content, it would have been more staged.

The E-M1 is a real surprise for a video. For this review I decided to set myself a challenge with a musician friend, where we'd shoot a music video 'Dogme 95' style. Entirely handheld with the Olympus 5 axis stabliser Very basic lights (iPhone torch and a flame) Maximum of 2 shooting days In the process I learned a lot about what makes the E-M1 such an effective camera for filmmakers. Read the full article here

Added the G6!

  Updated the article into leagues of 10, take a look. RX10 has a nice clean image, but the codec is a bit muddy and the sensor is quite small. The full frame look and interchangeable lenses make for a more cinematic end result on the 5D, whilst the RX10's look is largely determined by the lens it comes with.

When you have to start explaining each position on the list it's not a chart anymore.   Yeah GH3 should be ahead of GM1 but it isn't... because it's purely an image quality chart - ergonomics and features aren't really factored in it.   Again the image from the D5200 and D5300 is so similar they are grouped on the chart. Once you start charting cameras on features you end up with 'not an image quality chart' but something a LOT more complicated.

  C100 internal quality is better than FS100 internal but not by a huge margin. Both similar codec, AVCHD at 24Mbit. C100 just gives that bit more detail and is cleaner with less aliasing around bright highlights.

  Yeah of course you can. Now good luck making 100 charts to go with it :)

  Pretty much a NEX 5N with a worse form factor for a lot more money, so I've never used one, therefore I wouldn't know where to place it on the chart. Pretty close to the bottom I'd say.

  These was one of the most subjective areas of the chart. I like the full frame look, low light and lack of moire of the 5D Mark III in stock video mode, even though I hardly ever shoot that way because of the Magic Lantern raw revolution. But the GH3 resolves more detail and has the better video-related features and ergonomics.   Yes the 5D Mark III was a disappointment when it came out - it could have been even better had Canon given us more video features and more resolution.

G6 I forgot. It would come in between the GH2 and GM1. I'll add it to the March chart.   Hacked GH1 would come in around the 5D Mark II level. Smaller sensor but the cleaner image makes up for it.   Maybe better to have leagues of 10 next time too.   Any other suggestions?

This chart is an overall look at the whole spectrum of video and cinema cameras from the Arri Alexa right down to the Fuji X series of stills cameras. Read the full article here

Nothing wrong with zooms if used cinematically, something for Panasonic to sort out on future ones I think.

  4:2:0 leaves a trademark artefact if you look at bright red highlights for example and high contrast areas of bright blue as another example, like a the edges of a neon sign or lightbulb.   In 4:2:2 footage these edges are smooth and in 4:2:0 they are aliased.   Guess which the A7R shows... aliasing all over the place :)   The aliasing might be a result of the line skipping but if the HDMI is indeed 4:2:2 sampled on the sensor, it doesn't show any of the image quality advantages.   Regardless the real problem here is not whether or not the debayering process does the 4:2:2 or 4:2:0 sampling, it's that the debayer has such flawed data to work with in the first place, and has to do it very haphazardly on a processor not really designed for video.   Some sensors do a decent pixel-mix to get down to 1080p - rather than hacking the data down with crude line skipping. Toshiba one in the D5200 / D5300, Canon one in the 5D Mark III and the Panasonic NMOS in the GH2 all did a good job.   It's just that Sony have chosen not to implement this feature on their sensors (even the one destined for the $3000 VG900 video camera) for reasons which presumably made sense to someone.   It can't be that hard, because Toshiba can do it, in a low-to-mid range $700 Nikon.

  This is from an earlier look at the camera. In my retail camera, which is a final unit (I bought it from a Sony shop), you can't assign the video record button to C1 or any other button.   It's a ridiculous decision by Sony.   Also I don't see the logic in moving the record button to an awkward position AS WELL AS having the ability to turn it off in the menus. Surely the photo-hardcore guys who hate video so much can just turn the damn button off in the menus and not hassle the rest of us with their out of touch stupid feedback they gave to Sony on the matter.