sanveer

"As with the company's professional cinema cameras, Canon Log and Wide DR Mode are available for capturing a wide dynamic range." I am guessing that they have tweaked it a Lot, since they first introduced it. Also, codecs and sensor optimisation (including via incorporation of much more effective processors) are grossly underrated. I am guessing they have done a Lot since those noisy low light video of fireflies. http://***URL removed***/articles/5496399487/canon-multi-purpose-me20f-sh-camera-reaches-iso-4-million

Extremely impressive. I remember this. But the sensor has very noticeable fixed pattern noise. Also, the video upload has been limited to 360p, at which resolution too, interestingly it has fixed pattern noise, like I mentioned.

Incidentally Canon had posted a very low res video of this sensor way back when they gave out the press releases. It has 480p or so resolution (or was it 240p?). Incidentally even at that resolution it seemed disappointing. I am sure they have done a few tricks since then. Let's what how it performs.

Actually it says that it Pushes ISO to 4 Million. Which is technically 10 yimws that of the A7S. How much of that is really usable is what will be the deciding factor. And what other tricks it can do Apart from the 4million ISO

I am not sure what will wake Canon up from their slumber. Maybe firing their tech department?

Ok, so Sony and Panasonic and doing a pretty stellar job of their Mirrorless Range, but, IMHO, these are some of the shortcomings with either system: Panasonic: 1. Most lenses are not 'wide enough'. I am sure people would want something as wide as that Nikon 6mm Fisheye with 220 Degree of view, which lets you literally look behind yourself. I guess more wide lenses should be employed. Also, if Panasonic, along with Sigma and Metabones call Officially Collaborate on making an integrated lens system, that does super fast primes, and super fast zooms, that should help solve some of the issues regarding wide lenses and low light. 2. Lovers of Full Frame will always be unhappy with the 'not enough shallow depth of field'. 3. The low light needs to be Atleast 6400 ISO, not the 1600 ISO that is the Maximum that Panasonic cameras can go till. 4. I wonder if Panasonic can do an XAVC version, for getting some superb flat profiles, with lots of detail, without pushing a 300Mbps bitrate like on the 1DC. 5. Higher MP count for cameras. A lot of people don't see 16MP as very ProSumer, especially if the professional work involves Indie Films. The GX8 seems to be heading in the right direction. 6. Panasonic need atleast 1 real log profile in the Top 3 models of their mirrorless prosumer range (GH Series, GX Series and G Series. Maybe even in the next version of the LX100). 7. Their Yagh units need to be redesigned to more on the lines of something made by Sony Sony: 1. Terrible Battery Life. They need Atleast to probably double that on their top end mirrorless range. 2. Over heating issues. 3. Price needs to be pushed south. Right now while the A5100, and A6100, seem to be good, they have their own shortcomings. Also, the price drops become very apparent on models which are as old as 1 year. Maybe Sony should start with more realistic prices, and expect large figures in numbers of cameras sold, instead of higher profile margins on each unit. 4. More lenses need to be introduced. They should also try and make cheaper lenses (which will be a task, considering their Zeiss collaboration). 5. I would have said that they should have internal 4k recording, but they seem to have done that, along with Log profile in the A7R ii. I am hoping they maintain this trend. Regardless of their ethics statements, a lot of Filmmakers get a lots of freebies from companies, whether they are camera makers, or sound companies, or accessory makers or whoever else. Panasonic and Sony need to hand out freebies, in terms of cameras ans equipment for most websites and blogs, that deal with filmmaking, especially the Indie Filmmaking and Gear sites. Also, Panasonic needs to provide equipment to atleast 10 Indies every year, even if it is only for the period of shooting. That way, they will have a presence in the Indie Film Industry, where their prosumer range is most likely to have a presence.

The Zoom Recorders do have quite a bit of handling noise. I guess so do Tascam and other plastic bodies.

i guess this should have probably been posted in the topic "Why Canon is Still Top Dog". i kind of agree with quite a bit of what has been written about the issues with the A7S. But, a lot of those have been dealth with by the A7R ii. The Canon, though, is still a $8000 camera (new). The A7R ii is a $3198 cameras, which is still less than 1/2 the price for the Canon, and it does a lot than the canon does't. I guess battery may still be as issue along with a few other things.

i have to fix the issue with PayPal. And find more people who travel from the US (international shipping doesn't make sense unless you bulk buy) to here. Any Americans looking for Spiritual Holidays???

I posted a suggestion to them to allow for a Lapel Mic In via a 3.5mm port. I hope they take me up on that one. That should make this mic Legendary. That, and the Upgrades.

That one is actually quite expensive. The Instamic is actually a superb initiative. What has made it Even Better, is the fact that depending on their Collection Targets, they are adding Even More features. One, they doubled the memory, for reaching the $200,000 target. Then if they reach $250,000, they will make the recording quality from 48h khz to 96 khz. And, if they reach $300,000, they will add 2 additional mics to the sides. I wonder if they can do the Zoom H2n kindda wide separation for the recordings. It Already has waterproof options and mono as well as stereo. This mic is pretty neat, especially considering its size, the bluetooth function, and the various features on the app. I suggested to them to try and add a port for a 3.5mm jack for a Lapel Mic in. That should make this thing kick-ass. It might sound the end to a lot of other companies. hehehe

You know I did a google search, and I found quite a few links to the previous version. I also saw their kickstarter view. I guess they have improved the features, apart from adding the dual colour option, and the colour temperature range that comes from the 2 sets of LEDs. They have also apparently allowed many devices to be synced si simultaneously (upto 10 !!!). The battery life is good (25 mins at full power?), and the throw seems limited (not sure since they haven't said except the 300lux @ 1 metre bit for flash and 150lux for video). But, it also has accessories like diffusers that seem promising. I guess if the throw and the beam seem good, then this should do just fine. Maybe more for an interview than for shooting a film. As a matter of fact, this and the Lume Cube have very similar features, and very similar pricing too. I am surprised, how nobody noticed before. Just that this seems 1/2 or 1/3rd the size of that, especially in thickness, so I am curious battery life. Thanks for posting this. I actually like this thing. I would wanna try a few myself, and then probably take a call. I noticed that the Kickstarter Campaign just ended a few days ago.

nice idea, but: 1. The iblazr doesn't appear to be anywhere near the Lume Cube in brightness. What exactly is the output? I couldn't seem to find it. 2. It is a flash light for a Mobile phone. Doesn't seem to have continuous lighting. So very limited user compared to the Lume Cube.

​ It was on Kickstarter. I was planning to pick up a few myself, but after I read an article on how a few of the most popular crowdfunding projects went bust (that Coffee Maker covered by the New York Times), I got hiccups, and didn't wanna invest money where I wasn't sure. I am kindda regretting it now. I guess Inazuma, you'll have to wait for it to hit retail stores. Probably in another 2-3 months or so. Hopefully. I'll be picking up quite a few myself .

​Hahaha. I realised, immediately after saying this.

​Interesting suggestions. Especially considering that the lower end of cameras actually dictates the majority of sales. I kind of agree with your suggestions.

​I say this again, at This Price, and with These Features, and at This Size, this is the Future of Low Budget Indies. Imagine 1500 Lumens in this tiny size !!! Plus you can control upto 5 of these, from your smartphone. They have improved the design, and placed the LEDs closer. I am guessing that improves the throw of the light too. https://www.kickstarter.com/projects/1193685734/lume-cube-flash-and-video-light-for-gopro-iphone-a/posts/1297669

Instead of figuring out what the shortcomings may be and how can they be capped, people like gelaxstudio and jax_rox have on their own tangents. They say anything. They would probably even deny that the Cinema Series Line of Canon even exists. It's Unbelievable !!!

The replies are so many, but lemme try: ​ 1. I still maintain, that the comparison of Canon and Panasonic/ Sony DSLRs/ DSLMs is very noticeable, at most places around the world, in terms of availability. Naming 1-2 cities, or even 10 cities around the world would not serve as yardstick for this. Also, prices noticeably more than Top US retailers like B&H and Adorama should also be a deciding factor. 4. I don't agree. How many Canons, except the C line and the XC10 use different codecs? 5. The Mirrorless cameras were designed as a competition to everything and everyone, though they started out as interchangeable lens cameras and rangefinders. ​ If you believe that having online retail guarantees buying, whether a product is available in a particular jurisdiction or not, then you haven't quite figured out the very prpose of online retailing. Like Mr. Saawavi stated, in places like Egypt, they can pick up almost all equipment, even if unavailable in the local market, with a few 100% as duty. That doesn't make sense. Not to mention after sales etc etc. You have mentioned all these movies. Could you please mention what films were shot on what cameras (Hint: Skyfall was hot in the Alexa). I don't understand why you co-related what I think and what cinematographers accept. ​I guess Shanghai may have better cameras and accessories (both genuine ones as well as fakes), since China manufactures for most of the big names and except for some serious high end cameras most cameras in the prosumer range are made in China. I guess a lot of assistance who work with DoPs on Film and Tv are the ones who move on buying their own gear, eventually, and since they use the C Line of Canon, along with the 5Ds. ​ I agree, the Yagh thing ​ I agree, the Yagh unit was just so weird. I had the opportunity to meet the Panasonic team in Mumbai. I met the marketing head (some Japanese gentleman whose name I don't recall). I told him the Yagh thing was doomed from the start. I said, if they could have put a small LCD which displayed what exactly was happening, along with a good preamp, a battery unit and a dual memory card slot for 10 Bit 4-2-2, it would have been a runaway success. Hahaha, he was so positive about everything, that he was actually making notes. The Japanese are seriously a class act. ​ I couldn't agree more. Panasonic did nothing to market the whole "Upstream Color" bit. Even with the GH4, if Panasonic supplied 10 Units of the GH4 or other cameras ONLY for the purpose of shooting indies, even if they gave them out for 2-3 months each, that itself would have generated enough free publicity for them. I must say, that Panasonic needs to work on Publicity for the Prosumer marker from a completely different perspective. ​You are not reading the points, and replying to imaginary ones. That's why it doesn't even make sense. Most TV productions use the C300 and the 5Ds apart from the REDs and the Arris. BlackMagic did not use Philip Bloom, since Philip Bloom was shooting for the GH3. Anyway, we are talking wrt to about Mirrorless Cameras and not BlackMagic. Dude, you've gone into a different zone. Dude, Read the Posts. Nikon actually have better specs than Canon, and Sony has some great specs too. It is not solely about specs.

Great Article. I kind of agree that Canon doesn't care anymore, and that except a few cosmetic changes (except the dual pixel thing), they don't even pretend to care.

After Andrew's satire on what is wrong with Canon (Titled "The Canon fight back begins - with a box"), I thought about it, and I want people to try and help figure out, Why Canon is Still No.1 for Stills and Video, and why it may still be, for a while to come. This my opinion, regarding the same: I believe Panasonic and Sony are just not out there, with their prosumer range, and most of Panasonic' 'G', 'GX' and 'GH' line is not available in most local markets around the world (the GH4 being, arguably the sole exception). The same applies to Sony and their prosumer range. Basically, their supply chain is very disappointing, for the prosumer range, anywhere outside the US and a few markets in Europe. Which is speaks poorly about their Marketing Teams, since the potential for growth in Markets like Asia is arguably far greater than markets like the US and Europe which are growing too slowly in comparison. Most DoPs/ Cinematographers, who are famous and who use their own gear, actually use the Canon Cinema Line of cameras (C300s mostly). Some do use the A7S for low light (obviously) and the GH4, but those are very few.Sony and Panasonic don't make some super cheap glass like the Canon 50mm f1.8 (Panasonic is apparently planning to make some super cheap 25mm f1.7), which creates and ecosystem around their cameras. While almost every lens can be adapted to the M4/3rd system, a lot of people still need autofocus lenses, especially for stills. H.264 is still the codec of choice for most of the world. H.265 and (and even versions of H.264 like XAVC-S) are still not as popular and compatible as one hopes. While the GH4 with its very unusually designed and terribly cumbersome "Yagh" Rig tried to bring in some of the features of the Cinema Line of the Canon into the GH4, on the whole the bracket was grossly overpriced (it has now crashed to $698 now, from a price which was more than the GH4 itself previously) and just too bulky. Sony does a much better job with the XLR-K2M kit, which I still feel, can be made a lot more suitable to the design of DSLRs.I still haven't understood why Panasonic chose Nick Driftwood for testing the G7 instead of Andrew Reid or Vitaly or Philip Bloom. What I am trying to say is that, since they have a much larger following, why would Panasonic not try and do their homework well, before taking it forward in advertising and marketing.I must repeat the first point again. The supply chain and even lenses for cameras are very poorly available in emerging markets which has very high disposable incomes, for the last few years. By not exploring and tapping these markets, Sony and Panasonic are actually make a huge mistake.

I agree with Ebrahim Saadawi. The H1 is quite flimsy, but it's sound quality is pretty good. Actually placing more than a few feet would cause lots of background sound pickup. The Indie Mogul sound solution is good. You could, alternatively also place it on a stand, between you and the interviewee, so that you both could easily be heard. The H1 does record dual sound, and you could feed one line into the DSLR. Though I don't think that sound quality would be stellar. It's only for reference and as a possible backup.

I laughed when I read this. Twice. This is from their KickStarter Page: "This allows for incredible low-light performance with the camera’s ability to shoot at up to 102,400 ISO while maintaining high image quality, up to 6400 ISO." Due to the poor translation, it now implies that anything above ISO6400 is absolutely nonsense, and just some marketing gimmick. The Z Camera has a declared Dynamic Range of 10 Stops. I wonder what the Dynamic Range of the GoPro Cameras is? Some of the video shot for the promo seemed to have very little dynamic range. I am guessing if they change the codec they could probably get out the best from the sensor.

Not even close. The Hottest Temperature in London (I am taking large cities into account for the purpose of comparison) Ever recorded was apparently 37.4 °C (Degrees Centigrade). I was in Dubai for a bit, and while the government there doesn't accurately allow the temperature to be declared, the temperature on my friend's device was showing 54°C. A lot of places in the Middle East go above 50°C regularly, throughout the summer. Even Australis goes well above 40°C. Melbourne hovers at times around 45°C during the summer.

I saw this video randomly, and I realised that apparently Inadvertently (since Panny doesn't seem to advertise it), the Panasonic G7 seems to have made a huge improvement, in auto focus, during video. It doesn't do jumping and hunting anymore, for focus. Maybe 30% behind the Canon Cinema line, in terms oof efficienty for video autofocus, at a fraction of the cost. I could be wrong. Until someone confirms it. Here is the video: http://m.youtube.com/watch?v=ugy8lrPTVCY