mike_tee_vee

[quote author=Simco123 link=topic=776.msg5636#msg5636 date=1337920922] Andrew, I'm pretty sure your review of the 5DIII has influenced Dpreview giving the camera worst score than the D800 for video. When you consider nearly all reputable reviews put the 5DIII video ahead of the D800. A dSLR IQ for stills is mostly based on its RAW abilities because most people will be using RAW to fine tune their images. Like RAW videographers shooting videos on dSLRs will fine tune their videos in post. What we have is a 5DIII when fine tune through post put it in another league above D800 certainly match it in resolution but exceed it with moire & aliasing handling which is critical to filmmakers. And I we havent even mention lowlight ability. The negativity you gave saying its only a slight improvement over the 5DII while everyone knows that the D800 video was a quantum leap over D3s really put paid to Dpreview niavely gave the 5DIII lower score than it really deserve. >:( [/quote] DPReview's evaluation of video features in DSLR's is extremely superficial.  They do not have any standardized lab tests for video, so the video score in their conclusion appears to be subjective.  They really should have consulted Andrew on their GH2 review, because what they do have now is basically rehashing the spec sheet.  There's absolutely no mention of resolution, tonal range, or gradability of the footage coming out of the GH2.  According to DPReview, "the GH2 is unlikely to be an adequate replacement for a serious videographer's equipment." http://***URL removed***/reviews/PanasonicDMCGH2/15

How does the D3200 sharpness compare to the 5D mkIII with and without the AA filter?  I have a feeling the mkIII processing engine will be similar to what we can expect from the next Rebel

Price is quite high.  Lots of comparisons to the price of Canon/Nikon 24-70's, but the 17-5x 2.8's for APS-C are a more level playing field.  In that realm, Canon, Sony, Sigma, and Tamron undercut the Panasonic in price by a significant margin.

When a Super 16 sensor looks this good with 13+ stops of DR, it makes me wonder how people can say that Panasonic is crippled like a boat anchor by the micro 4/3's format. 

You don't edit with RAW files, no one does, you use proxies. RED has a quite cool quicktime proxies system that allows you to create different res quicktime proxies that are just an alias and don't take up any disk space, but they interpret the RED raw footage as lower res quicktimes, that you can edit on any system. [/quote] Interesting.  How long do the quicktime proxies take to render?  Using things like Magic Bullet or any video noise reduction software take at least 3x real time to render before getting a usable preview.

So the reason for not introducing anything new is because the existing product is "only" 15 months old (regardless of where the market is heading)?  Gee, how old is the C300?  I guess the Panasonic imaging division has different mandates with the G3, GF3, GX1, and GF5 coming out like clockwork.

It's a bloody shame that the AG-AF line is dead.  Panasonic have no clue on how to develop an eco-system, and their divisions clearly do not communicate with each other.  For all the criticism Sony receive on proprietary formats (i.e. Memory Stick), they do a pretty good job of integrating things across all their different divisions. 

It's looking more like the GH2's success as a video tool was an accident.  There's no mention of 12-35 or 35-100 prototypes at NAB, or even any rough specs.  Also, 1080 60p didn't seem to be the biggest omission from the original AF100.  You'd think that punching in for focus confirmation would rank higher on firmware upgrades. The Sony FS100 is becoming the only reasonable option in the $5,000 price bracket, and it's only by default.  People were hesitant at first (i.e. Andrew) but now willing to work with the quirky controls, lack of ND filters, and no HD-SDI, simply because there's no new competition.

[quote author=Tzedekh link=topic=579.msg3986#msg3986 date=1334522708] Well, you can forget Panasonic. They rehashed AVC-Ultra, showed a new $16K 2/3-inch 1080p camera, and announced they will be charging $250 for a minor AF100 firmware upgrade. Although they showed a 4K Varicam mockup, it won't be available until sometime next year. Maybe their worst showing in years. [/quote] My thoughts exactly.  Instead of coming up with a large chip camcorder, they are milking the old GH1 sensor.  You'd think they could at least introduce something comparable to the GH2's sensor.  Who knows, maybe they're throwing in the towel on micro 4/3s at the pro level.

I am more concerned about Panasonic.  The AVC Ultra announcement isn't anything exciting, and there's no real clear direction on where they are headed.  Will the next AG AF camera be micro 4/3?  The photo and video deparments seem to be independent of each other.  The 12-35 and 35-100 mock ups are nice, but when will we see the retail versions, and who are the targeted towards?  The GH2 is amazing tool, I just hope it doesn't end up being an "accidental revolution" like the 5D mk II was.  I can easily see the GH3 being just as re-hased as the mk III.  Without compelling alternatives under $5000 from Panasonic to supplement offers from Sony, Canon will not feel the pinch.

After seeing the South Bank film, I'm more impressed by what Canon has actually provided with the mkIII.  Aside from resolution, there are certain cinematic qualities of the image that are unmatched.

A VG20 competitor with the GH2 sensor would be intriguing.  Sony continuously releases these lame duck VG models at nearly 3x the price of the NEX 5N levels that are completely crippled.  The market allows this because there are NO competitors at this stage.

I know this word gets over used, but there's something inherently "cinematic" with this footage.  Simply awesome.

Nice videos!  I don't have much hope for the GH3.  Panasonic is developing a bad track record for rehashing and reiterating old technology.  Today's GF5 is a prime example with little innovation.  The entire micro four thirds line is turning into a Canon-like update machine with new models showing little change.  The Lumix line STILL does not have 1080 60p in any models, while the NEX 5N has had it for a while.  Their camcorders are more of the same, and who knows when the AF100 successor will surface.

Sony's innovation is the best thing to happen to Canon and Panasonic.  Both Canon and Panasonic have a nasty habit of rehashing old technology with only incremental improvements.  The AF100 only has a GH1 sensor, while the TM700/900 and X900 camcorders all use the same 1/4" chip 3+ years running.  Competition is great.  In the 60's and 70's, Avis Rent a Car's corporate motto was "We're #2, so we try harder."

Andrew, This is an incredible portfolio!  You have an amazing talent.  Do you have any tips on how to shoot footage with people?  Your footage looks so candid and natural.  I'm assuming a small tripod is used, as the image is very steady.

How are cameras like the Canon XF100 for wide, establishing landscape shots?  I assume that the resolution and depth of field are superior to the 5D.  The features on the XF100 (i.e. ND filters, waveform, XLR, etc) are very complete.  Are these pro camcorders able to output a cinematic look to work in conjunction with the 5D's weaknesses?

One thing preventing me from switching to a Nikon is the F lens mount.  I have a significant investment in C/Y Zeiss glass, which would be rendered obsolete.  I likely will never buy an F mount camera due to the limitations in mounting non-Nikon legacy glass. Right now, I consider the micro four thirds lens eco system to be the best of the bunch.  The list of native AF primes are fairly complete, and a few pro zooms from Panasonic are on their way.  The EOS mount is a bit of a jack of all trades, as it facilitates modern technology like image stabilization, while maintaining adaptability to legacy glass.

I know there is outrage over the resolution, but the mk III DOES have it's place.  It's full frame, has a certain look, and is now without the nasty false details.  It's disappointing that it is not the be-all, do-everything tool that we were hoping for, but the FS-100 isn't either. 

As disappointing as the resolution is, there is just something special about the "look" of Canon video.  The tones and colors are beautiful, and I prefer them for people to the GH2

Even though the GH2's resolution is jaw dropping, I still find myself drifting back to Canon for the colors and tones.  My perfect camera would be a combination of both. 

Pound for pound, how would the hacked GF2 footage compare to the NEX 5N?

I worry too that Canon may do the bare minimum on the video side.  They have a history of being reluctant to cannibalize their higher end.  I recall Chuck Westfall saying that the original 5D did not need an update 2 years into it's life simply because there was no other full frame competitor.  Since Nikon and Sony haven't exactly raise the bar on video quality, there's little incentive to have a marginal update.  Please prove me wrong Canon.  Please!

Everyone is dazzled by the video, but people fail to realize that this was filmed in a professional environment BY professionals.  Every frame has been planned for maximum artistic effect.  Joe Blow won't be able to achieve these results simply by picking up this camera out of the box and hitting record.  It's an amazing piece of work from an artistic perspective, but it doesn't fully expose the camera's strengths/weaknesses from a technical perspective.  We need footage of brick walls and repetitive patterns to accurately evaluate the camera's capabilities.

Andrew, great preliminary review!  Do the fine details of the NEX 7 "fizz" like they do on the 5N?  That's the one thing that drives me nuts.