Andrew Reid

I know - ridiculous isn't it. Clearly the incremental upgrades are marketing driven, and provide a short term sales boost because Gizmodo will rave about it and everyone will rush to buy it because it's new, without thinking what it actually offers.   To be fair to Canon they are not the only ones trying the same thing - look at Panasonic and their GF2, GF3, GF5 and Nikon with the D3000, D3100, D3200!   For me the incremental improvements build up to a massive failure to deliver, in the last 4 years people loyal to this particular line have had almost zero innovation to look forward to.

The Canon 700D / T5i is more a firmware update than a new camera. Indeed the only new feature in the hardware is that the mode dial now turns 360 degrees. If you are wondering whether to upgrade from your 60D or 650D, the answer may well come down to whether you find a use for that 360 degrees mode dial. You can now go from the M mode on the dial to Scene mode in just one click! Amazing I know. Though cute, the new entry level 100D offers a 25% reduction in size at the expense of handling and no articulated screen. There's seemingly no new functionality on this camera either in video mode, not even for stills! Owners of the 4 year old 550D from 2009 could be forgiven for not rushing to upgrade.   http://www.eoshd.com/content/9829/new-canon-sl1-100d-and-t5i-700d-fail-to-excite  

Weirdly it goes further at the lower rates - to 45 at 15fps and 50 at 5fps.   But yeah, 40 frames at both 30fps and 60fps. Raw, JPEG, it doesn't matter still the same number.   I'm seriously considering the V2 - just the faster write times to the card and the manual controls / adaptable lenses in burst mode are great features.

You can now download an MP3 version of the 75 minute interview here http://www.sliated.com/kubrick.htm

I bought Don's stuff on DVD, I'd pay to download it on Vimeo all the same. I also rent movies on iTunes and I'd pay to rent stuff on Vimeo as long as it was good content and entertaining.   Yeah there's a lot of free stuff out there, and most of it is 12 seconds long and of novelty value.   Vimeo On Demand will work with the longer form stuff.

Can confirm all of the above. V2 is so fast at writing images to the card you can do a burst of 4.6K JPEGs and almost immediately do another one straight afterwards.   I'm considering upgrading too. Just wish the battery was as large as on the V1 and that the camera wasn't so damned ugly.

  Yeah 1080p is above average on this camera, just a shame there's no high bitrates or 24p. Detail is above NEX and there's very little moire or aliasing.

  The sensor outputs 4K raw at 30fps or 60ps, and the limited consumer Nikon image processor can do as follows:   A ) Store 30 frames in a buffer at full res, then slowly write to the card B ) Downscale to 1080p for video at 30p or 720p at 60fps   And there's also the 400fps and 1200fps mode. The 1200fps is very low quality and a small window (crop) of the sensor.

  No the stair stepping (aliasing) is on the original file. To get 400fps the camera line skips like crazy. Still amazing for $300 though.

I love the low-fi feel - lots of aliasing and pixillation in this mode because of line skipping but the blue / red errors in her eyes when they glint in the light adds a really eerie feel.

People are willing to pay for original content they can't get anywhere else. As long as it is high quality, quick and convenient.   One of the best things Vimeo did here was have Don Hertzfeldt animation It's Such a Beautiful Day as a launch title. If you haven't seen it yet, get it. I love the minimalism of the animation and how much personality and dark humour is in it. It is completely blessed of the hand of an artist.

http://vimeo.com/62177101 High speed shooting hasn't been possible on DSLRs until now. Again it is the much dismissed Nikon V1 providing the creative inspiration...   http://www.eoshd.com/content/9821/radioactivity-my-400fps-shoot-with-the-nikon-v1

An early self portrait of the young Stanley Kubrick, photographer - Image source: British Journal of Photography In a 77 minute interview recorded over chess between takes on 2001: A Space Odyssey in the mid 1960's Kubrick describes selling his first photograph, his first short and making his first feature.

Any link?

Leang and Mark sorry to be blunt but your ignorance astounds me on so many levels.   The logic of the argument is what matters, and the judgement & talent of the person making the argument.   There's no other creative industry where talent is trumped by some weird class order, as if having ASC after your name makes a mediocre talent great and 'ignore the rest'. There are people with experience who I don't respect, because I don't rate their work, their art, their taste, their world view and what they have to say. Doesn't matter if they are an ASC or not.   Doyle is not a career filmmaker, he only cares about the cinematography. If only more people were focussed on that, on understanding, refining and generally getting on with it - rather than climbing a career ladder. It wouldn't happen in the music industry. With music nobody sneers at a talented guitarist because he isn't part of the RIAA. It's the creativity, stupid. In the movie industry talent somehow takes a back seat to bullshit. It's weird.   And it isn't just about the attitude, if Doyle wasn't a genius behind the camera, his attitude would carry no sway with me.   Sean's work here could have any level of standing at all and I'd still admire it as the artistic achievement it is.   I respect people based on what they do, not 'who they are'. Maybe because I am a doer, and more interested in doing stuff than bullshitting around it.

OK enough of this shit. Back on topic please.

The problem with trying this look in burst mode is that a flash creates banding with the rolling shutter, and the minimum shutter speed is 1/60 in burst mode - a bit too fast to get that really blurry look.   I'll keep experimenting.

I have the V1. The V2 is 3x more expensive at the moment and it is a fugly looking thing which offers very little more for the money, as seems to be the course for follow up models today. (I hear NEX 7N will have the same sensor as the 7 - WTF!) With the V2 the manual controls aren't simulated on the live view display but they do take effect in burst mode and you can put an adapted lens on it. With the V1 I'm happy to use P mode and the CX glass for now. The 18.5mm F1.8 is highly recommended.

Indeed seeing this as 'a primary camera' because of a 1 second 4K burst mode is very silly. Comparing this feature to a DSLR or C300 for example especially on non-experimental commercial work, is the wrong way of looking at it. I had this idiot on Facebook saying the title was misleading and that he couldn't use it to shoot a commercial because it would cut off after 1 second. Geez. See it for the creative inspiration it is - the opportunity to try something new. I'm going to shoot my burst mode piece tomorrow. The time limitation is springing up all sorts of ideas especially in the way the sequences are handled in post. Crop and re-frame also quite a big creative avenue too. I don't agree it has a 'one off' use like a gimmick. It is broad the kind of art you can produce with it. Also today I've been experimenting with the 400fps. Completely amazing creatively. If you liked Slow Moscow you will love the 400fps on this. The quality is enough to give you the eerie low-fi mood. The rest is down to the motion you capture, the people, the location and composition.   It's also a very handy small mirrorless with a built in EVF and the 18.5mm F1.8 is a great lens. I like it.

I'd have given it to Robert Richardson.   Anyway, there's VFX, and there's cinematography... Both important but they are separate awards for a reason.   This is a little bit like the award for best screenplay being given to the guy who edited the film.   I also think that the way the voting works is a little flawed, in that academy members tend to appreciate a film overall, and if it is not nominated for many categories, their votes overall for that film are pooled heavily into one award and so it wins, whereas films which are nominated for a broader range of categories have their votes more thinly spread. I know that is not how it is meant to work, and that the votes are for a particular aspect of the film, but that's the psychology of it.

As we know the V1 controls shutter automatically in burst mode.   From my experiments with the V2 so far this is not the case and you can operate burst mode with M selected on the mode dial.   Check these photos out -   http://www.thisiscolossal.com/2013/03/chicago-lights-flash-street-photography-by-satoki-nagata/   Now imagine them moving.   I've always been curious about using a slow shutter speed and a flash to prevent the subject blurring whilst everything else, like the backdrop, looks like it has been shot at 1/10.   Might only be good for a single frame at 1/10, but something to experiment with at 1/30 or 1/60 maybe with burst mode.

The fact that the award was a piece of shit shouldn't deminish the work of Miranda, but let's face it Doyle is speaking from a position of strength, his work rates far above Miranda's to date. Miranda's cinematography on Tron Legacy and The Curious Case of Benjamin Button is able (didn't like the films though) - but Doyle on Hero and 2046 - that's masterful and in a completely different league.   Christopher Doyle and Anthony Dod Mantle are purists, artists more than craftsmen or career DPs, have lensed some of my favourite cinematography and are inspirational to me personally in their whole approach.   Mantle is himself an Oscar winner for Slumdog - amazing - he's also a digital innovator, one of the first to embrace the format the late 90's with DV. Total respect to him. He's worked with two of my favourite directors - Lars Von Trier, Danny Boyle. Dogville took a paired down approach to staging (to say the least) and cinematography, the complete opposite of Life of Pi but still has bags of atmosphere and menace.   When Life of Pi got the award for cinematography - I felt it was for the technical achievement more than anything else, and that the DP was one of a large team who made that happen. Maybe it's possible the academy members overlooked that and just felt the finished film overall looked great and decided to pin that on a figurehead. I can completely understand the VFX award. The cinematography one was a mis-step as I think there were other guys nominated who deserved it more.

Nice work above.   Not notice? You'd have to be BLIND not to.

My belief is that when they switched to making the '36' as a stand-alone adapter, they added multi-coating. That is what gives it the blue/purple tint to the front element, whilst the older lenses have the amber tint from just a single coating.   Later they added 'MC', but the first ones to have multi-coating were not labeled as having it, leading to some confusion now. I thought I was buying a single coated version because it lacked the 'MC' designation.   So it goes something like this...   1968-69 - Iscorama, single coated 70-75 - Iscorama 36, multi-coated From some point in the 70's or 80's they added 'MC' lettering on the front of the lens

Any link to the Time-Lapse app?   That's a useful workflow Zach.   By the way... You can do a burst every 5-10 seconds when shooting at 2.8K JPEG and image quality is quite lovely.   Also you're getting the full vertical resolution of a 3:2 sensor from the V1, which is handy for anamorphic shooters with 2x stretch lenses.