Andrew Reid

  Got a link for more info? Somehow I missed this.

I'm really impressed by this new Digital Bolex blog post detailing what they have been spending all this extra time on. The project has had a massive yet very sensible improvement on the original specs of the camera.

The latest model looks really impressive. Glad to see the extra time taken is being put to very good use.

You know what I mean :) If we start taking away useful modern technology because 'the film guys coped' then we wouldn't get very far.   NEX 3 = $200 = peaking   1D C = $12k = no peaking!!   I think Canon's thinking here is that everyone will use it with a monitor or EVF which supplies the focus assist tools and so they don't have to spend a dime adding it to the display.   Actually since the built in display is so small that is the thing that most needs it.   Stupido

You'd be surprised how far you can push 1080p though.   Go to the cinema for starters... Last thing on my mind there is 'wish it were sharper'   I also saw 1080p Blu Ray upscaled to 4K and it looked like... 4k.

That wasn't the case if Philip's labelling was anything to go by.   He put "100% crop" on the 4K screen grab.   No mention of downscaling to 1080p.   Maybe it is not clear and maybe that is what he did.

  Agree it is very nice image (as it should be for $12,000) as long as you're not doing heavy grading work and don't mind some banding on skies, skin tones, walls, etc. Bringing up shadow areas on actors faces will not bring good results, I think the 1D C is something that benefits from being lit as well as possible and crushing the blacks for a more contrasty look = better tonality. Glad you are enjoying yours. I am trying to get one to test soon.

  1. You're f***ed 2. $1000 on top of $12k is not much, most will already have one. Atomos Samurai should go well (since you'll also need the monitor) 3. If it is portability you want then go for a DSLR no question 4. Battery - need to research that

  Tell them I sent you :)

I'm not convinced it is 3.2k in reality or Red standard 4K. What about that screen grab of Brighton pier? How do you explain the closeness of the resolution. The super 35mm is a slight crop which explains part of it, but they look awfully close considering one is 1080p and one is 4K.

  Sort of.   How about peaking for a start?

A Hollywood workhorse to this day, the Sony F35 (also rebadged as Panavision Genesis) is a Super 35mm PL mount digital cinema camera and also an extraordinarily good deal on the used market in 2013. It has 14 stops of dynamic range and a global shutter. It has taken CMOS sensor in the F65 a full five years to surpass the CCD sensor in the F35 / Genesis, which was used to shoot Tim Burton's Alice In Wonderland, Superman Returns and Apocalypto.

The crash-cams don't always get destroyed, they're in protective boxes. When your budget is $100m, $12k x 10 for some cameras that make difference between getting the shot and not is a pittance. Why risk putting an operator in a dangerous position?   Again I have no problems with Cinema EOS at the high end, it is the consumer video end they need to sort out.

The 1D C's 4K resolution has 2160 lines vertically, the BMCC has 1350.   Subjectively without having done a chart test I'd put the 1D C at around 1500 lines and the BMCC at 1200.   That's not a huge difference.   Upscale 1200 to 1500 and they will look similar.   4K on the 1D C is not true 4K.   They look like soft-ish 8MP JPEG images, which is what they are. They sharpen up nicely, but they don't grade as well as raw. All pretty obvious really.

Canon's Cinema EOS line is a perfect judgement. It is 'good enough' for commercially churned out work. Their sensors are pretty good, versatile in low light. Raw and the rest, the commercial industries just see it as a hassle. Raw is more for artists and big budget features.   If you look at Hollywood you won't see many C300s. They'll have Alexa, F65 or Epic Dragon for their main camera and maybe a 1D C as a POV or crash cam like Hulbut does. $12k even for a crash cam is cheap for these guys and I am sure they will rent not buy.   The Cinema EOS stuff is mostly designed to be rented which would explain somewhat the high purchase price.   Where Canon is a complete mess at the moment is with guys like us. Indie filmmakers and consumers. They really have come up short with the mass market DSLRs.

  The 1D C could have been much better, something which is rather glossed over in some of the more glossy reviews light on technical knowledge. A group of bedroom programmers added peaking for free, and Canon can't do it for $12,000. Even the NEX 3 at $150 on eBay has peaking!   Canon don't have the hardware to play with the big guns. No global shutter tech like Sony, no internal raw recording technology either. If a better codec wasn't possible with the 1D X image processors then why don't they add a 10bit 4-4-4 HD-SDI port and use an external recording solution?   A lot of people will be having issues with shadows and grading skin tones on this camera and there's no fix.

Pretty good list. Couple of things - I'd put the F65 at the top, it is the only true 4K camera sampling from an 8K sensor! GH2 is above FS100 for resolution.

The GH3 holds up better, much cleaner in the shadows.

Here's Philip's review   http://vimeo.com/58263312   This is telling...     I honestly can't see any more detail in the 4K grab. Maybe it was due to the mist and rain.

  I don't believe it sorry. The 5D Mark III HDMI will be a Super 35mm crop of the sensor? Or full frame and the same sharpness? Neither seem very likely! I've been told such bullshit by Canon reps in 2012 I am very wary of going off what they say from now on.

http://vimeo.com/58252561 Johnnie Behiri has a Canon 1D C on loan at the moment as do quite a few other people. I've been watching the various footage and here's my view of how it performs...  

The D5200 has above average image quality for the price but the rolling shutter is horrendous and the GH3 has more features and a better lens mount (more adaptable).   I'd be interested to see if the D5200 HDMI is uncompressed 4-2-2.

Read this...   http://moedred.livejournal.com/2009/03/04/   Very interesting to see them discussing how the film should take shape.   (thanks James Miller & Ed Moore on twitter)

Good point ScreensPro. Most of the requests to license EOSHD footage has been for the stuff I shot in Taiwan and in buddhist temples, the stealth factor was essential to those shoots and makes the footage all the more rare for that.   The price of the 1D C is such a shame, it compels us to take a large financial risk or loss. I will likely wait until it turns up on eBay in a year for $6k.

http://vimeo.com/57016257 Check out more of Andrew Wonder's work here Here director, cinematographer and DSLR user Andrew Wonder talks to EOSHD about his latest anamorphic spot for G.E. The technology behind the shoot is rather interesting. Two Sony F3 cameras mounted on the front of the train, remotely controlled and recording to e-sata drives in the control carriage, kitted out with Joe Dunton / Panavision anamorphic lenses from London. Joe Dunton is a British Bafta winning camera equipment guy who has always held a great fascination with anamorphic lenses, and was one of Stanley Kubrick's closest collaborators after A Clockwork Orange in the 70's and provided Kubrick with his lenses on Eyes Wide Shut.