Andrew Reid

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.  

I think we're on the same page TJB. I didn't think you were referring just to expensive cameras, you said "if you're shooting your own project than rent". Shooting it with what? GH3 or C500?... It really depends. One is a good ownership prospect, one isn't. One has the need for a C500, one shooter doesn't. I agree it is a risk to buy very expensive cameras, $12k plus. The depreciation on it is hell. Renting a 1D C - yes that would be fine for some.   Just putting it out there that renting a camera that costs less than $3k is not sensible.   I am not in love with the idea of renting because I use my cameras almost every day and have quite a few of them. Renting all that would be ridiculously expensive long term.

I did some research on the noise grain in 50Mbit long-gop vs 72Mbit ALL-I   Actually the noise grain is the same in 50Mbit 24p and 72Mbit 24p. But it is different between 50Mbit 50/60p and 72mbit 24p especially in motion. Less noise in the 50/60p codec.   But the difference is quite small. 50p is on the left versus 25p (I have PAL camera hence EU frame rates).  

Renting is ridiculous for some. A total abject waste of money.   If you are happy with DSLR image quality or the Blackmagic, why rent them? They are SO cheap to buy.

2.5" drive is hardly too much real estate even for a crash cam. Look at the size of the Blackmagic HyperDeck Shuttle, it is tiny.   I think Canon felt that spec creep would eat into their margin on it.   The margin by the way is rather large.

Uncompressed is actually cheaper and less hardware intensive than compression.   This is why the BMCC costs $3000.   14 bit 4K of the sensor to shitty MPEG and it costs us money!   If I were Canon I'd have done an SSD box in a battery grip style casing under the base of the camera and do the absolute minimum of processing on the sensor output.

  Speed Booster still possible on the FZ mount. Read this...   http://www.eoshd.com/comments/topic/1912-metabones-speed-booster-review/?p=25898

True they use FZ mount but the flange is the same as E-mount ,18mm. That is the important thing - enough room to accommodate the Speed Booster. FZ just has a wider diameter to accommodate some rear elements on PL glass and has a tougher locking system, and adapters to PL out of the box.  

On a film production the job of the DP is not to file tax returns or chase clients for new business.   The job of a lone operator is 50% business and not all artists have that skill.   If you have though, the 1D C could be a good investment. I know people who have taken out a loan for more to get something leisurely like a camper van which depreciates and costs money to run and doesn't make you any money. At least this could make you some money.

There's such an embarrassment of riches at low prices at the moment for filmmakers, to spend $12,000 on a camera body has to be somewhat more than just an artistic decision. It has to pay its way... Here are 5 ways to become a Canon 1D C owner without taking a huge gamble on your finances!

Are you guys testing this by focussing at the further extent of zoom, then zooming back to wide angle, then back out again?   If you first focus at wide angle and zoom, the accuracy won't be enough.   Probably obvious but just thought I'd throw this in there.

It's a shame the form factor is so bulky. There's also a real lack of comparisons between 10bit F3 footage, BMCC 12bit raw and FS100 8bit AVCHD. Would be interesting to compare the F3.

Seems the F3 has halved in price since it came out.   £5200 on eBay. That is only a grand more than a new FS100!!   http://rover.ebay.com/rover/1/710-53481-19255-0/1?icep_ff3=2&pub=5574929666&toolid=10001&campid=5336727214&customid=&icep_item=251217406711&ipn=psmain&icep_vectorid=229508&kwid=902099&mtid=824&kw=l

BTW the Sony F3 might dip below $8k on eBay before long. That does 10bit to external recorder if it has the required firmware upgrade.

Yes, haha you are right. The availability of the new stuff is incredibly poor! I feel we're at the beginning of a mountain of progress though, and not at the $15,000 mark but at $3000-6k

Please read up on my Speed Booster stuff sir. Already explained it all. It gives you 1 stop extra brightness so F4 becomes F2.8 in terms of exposure, and F1.4 becomes F1.0. The wide angle 24mm is the Samyang 24mm F1.4 on the Speed Booster. The SLR Magic lenses are T0.95 and used as-is, they are not Canon mount so don't fit the Speed Booster adapter. The 24-105mm costs around $800, price varies on country. In Europe it is about 600 euros used. Good lens.

Seems you're describing the KineRaw cameras? They're under $10k.

Please email them at support@slrmagic.com to order.

  It does have to be used in a certain way, that is what is great about Twixtor. Twixtor and 60p is not a match for 100fps or 200fps for general purpose slow mo, what I meant is that with skill you can get superb results from it - and the GH3 with 1080/60p costs $1299, the FS700 $8000 - in that context, Twixtor is suitable for budget shooters who can't afford the FS700. The GH3 is pretty similar to the FS700 image quality wise. Twixtor works well with 60p material, better than 24p on the GH2 - more frames to interpret from. It falls down with fast movement and motion blur. I like to use it a certain way and it has been incredible.   Did not dive into the Cinegammas. Not enough time as FS700 goes back to Sony on Friday.   I still prefer the Blackmagic for my work.