sanveer

Hahaha, Andrew, I noticed this, after your post. I felt both embarrassed and stupid, for having jumped the gun. My bad ... :P

It's not about making a good camera. That the Canon did not just with the expensive yet well-features 5D Mark ii, it did it with the 550D and that range of much cheaper cameras. For most Indie Filmmakers, especially those not making Features, it was more than sufficient to pick up any of the cheaper range of Canon DSLRs shooting in Full HD. The C100, C300 and C500 is a completely different target audience. And, it does have advantages over regular DSLR video (Flatter Colour Profile, Higher Dynamic Range and Higher ISO). But the C100 starts at $5500 (for Dual Pixel) for AVCHD which doesn't even do 60fps, and the C300 does 60fps at 720p, and costs $14000. While these cameras are good for broadcast standards, they don't really cut it for Filmmaking (more due to the fact, that that there are emerging cameras like BlackMagic and others, which are far better for coloring and grading and cost a fraction of the cost of the Canon's Cinema Range). The Panasonic GH4 and the Sony A7S are the future of Independent Filmmaking, especially for productions will smaller budgets. The Canon Cinema range, is almost there. Though not quite precisely.

Canon should probably fire its engineers for coming up with this in the first place. Whats an over-sized piece of _ _ _ _. And this is incomparable with the A7S for filmmaking. Also, after seeing that the A7S does clean 4k video upto 100,000 ISO, I am sure it can be used for more technical and scientific purposes.

I guess if Canon does not genuinely innovate and allow technology to trickle down to its mass buyers as oposed to the Niche C500 buyers, its headed for extinction. Also, apparently, in sensor technology Canon hasn't really innovated in the last half decade. Almost At All. Only on paper, not in actual field tests.

I remember, last year, Canon teased a sensor, which, apparently did Superb low light. What we saw, unfortunately, was a highly pixelated and Very Noisy video of fireflies. The Sony A7S is actually the camera that Canon spoke about, but did not make. Anyway, that sensor was only 2MP or something, so it wasn't really made for production. Here's the url and the video: http://petapixel.com/2013/09/13/canon-debuts-exciting-prototype-sensor-exceptional-low-light-capability/

I am curious why none have discussed the GH4 B&H Webcast, which I thought was pretty interesting, highlighting a few things that were either in doubt, or were things that users thought, needed to be addressed: 1. Most people recording 96fps on the GH4, found the video rather soft. Panasonic (Matt Frazer) explained that one must set the shutter speed to 1/200, so that they get the right kind of sharpness for the image. 2. In the GH3, people could switch between the Shotgun and Stereo mic pickup pattern (on the Panasonic DMW-MS2), and, apparently, now, in the GH4, even the angle of pick up, for the shotgun can be adjusted, making it narrower or wider. And, also, apparently, it can be set, to self-adjust with a zoom lens, depending upon the amount of zoom employed. I think, on paper atleast, this feature seems amazing. 3. Also, there was a reporting of noise by many people, saying, that, there was a strange buzzing noise, coming from the GH4, at all settings. Panasonic explained this in the Live Webcast, saying, that this was due to the fact, that most plus in 3.5mm jack mics are not grounding out correctly, which is apparently due to the Tip, Ring, Ring, Sleeve Adaptor on Panasonic Mics vs Tip, Ring, Sleeve Adaptor on most other mics. They explained, that they understood that the mics are not grounding properly, and their engineers are working to resolve this issue now. Did anyone else notice anything else extra, which wasn't already discussed, about the GH4.

Thanks Andrew, Great Review as always. I am curious: 1. I am curious as to comparisons of screen grabs between the C100, GH4 and C500. 2. I would like to know the Exact Flatness of C100 vs C300 vs GH4, from in-cameras, and otherwise. 3. Most importantly, how much Flatter does the Cinema D profile, with everything dialled down (-5 Highlights, +5 Shadows + 15 Master Pedestal) make the profile? With the optimum settings, I suspect the GH4 pushes a tad bit under 12 stops of DR, in video (according to DXO labs it does 12.8 stops for stills). What do you feel?

From Andrew's write up on the gGX7 vs A6000: " ,,, Handling The A600 has a number of problems here. Whenever you insert a card used in another camera, a computer says “NO†and begins building a database whilst your crew sits around tapping their fingers impatiently or a shot sales off into the distance." Someone's Obviously been watching a lot of "Little Britain" ;) :P

Blanche, I think you have started a brilliant post. I think we are so glued with technology (which does indeed forma very important part of film-making, style and narration, apart from Many other things), that we have forgotten completely about content, minus technology. But, story-telling is something that is hardly discussed, anywhere on the internet. Most of the launch Videos of New Cameras (ala the GH3 and GH4), have either only story-less footage, or poorly narrated stories. Admitted I am absolutely ignorant where Documentary Narration Styles are concerned. I had a very close friend, who disapeared a few years ago, and then, passed away, even more mysteriously, before she could tell me about it (she was a national award winning DoP). Also, I don't really get to interact with documentary makers, at all. I like themartists suggestion. I think its creates co-operation and collaboration of talents. I could propose something, if everyone agrees. We can make a list of things we could collaborate on, without any kind of commercial aspect, though by not indulging in plagiarism, or or one-upmanship, of any kind. We can always broaden or change the list of topic and the nature of the exchange, as we go along. How does this sound?

See, story telling, is like all other aspects of film-making, Whereas, a Film School can ONLY make a film school student of person, and actual, hands-on field work, will make a cinematographer, writer etc etc, of you, the way to go about with it, to to meet people with ideas, stories, narration styles etc etc. For me, apart from people, I get inspiration, from watching short films, and reading works of prolific writers like Roald Dahl and Jeffrey Archer. These two really nail the precise amount of narration (material, as well as style) necessary, in a short story (the things needed to write for a short film). Read lots of short stories, and when you start feeling that you have got the length necessary to write a 10-15 short film, you have hit the nail on the head. After that, have it reviewed by someone who writes lots of short stories (such as yours truly). I could send you one of 2 short stories, if you promise not to share them. :)

Quite true. Some of the most beautifully shot videos on Vimeo are usually just videos, tagged or labelled as Short Films. They have absolutely no story to tell. Actually, I feel there is so much one can narrate in terms of a short film. Gear and everything is nice, but actual story telling must have a strong edifice based on story-telling.

I am jealous. hehehe. Actually, its nice that this group is being moderated, and that all that random spam won't find its way here. I was almost tempted to order a few _ _ _ _ _ _ _ h$#kers online. hahaha. On a more serious note, I am only curious, but, Andrew, do you think that this could have more people contributing to Front Page Articles (as opposed to merely Forum postings), like in the case of NoFilmSchool, being under standardised and moderated instructions?

I guess this is the opportunity of a lifetime, for new cinematographers. My friend's production company is looking for a cinematographer for a Low Budget Indie Film, to be shot in India. It requires a Cinematographer, who doesn't have too many years of experience, since the budget is not too high. Anyone (even fresh pass-outs), who are comfortable with shooting on different formats (especially DSLRs), please write in to us. We will cover air fare to India, put you up, and also cover your fee for your work. Please write into us at (and please try and paste the urls for some work of yours): admin@Happyhoursentertainment.com

:P

Wow. I have been quite irregular of late, on the site, but, this is by far the best decision you have taken Andrew. I was finding the cheap Ads and porn far too much to digest. I guess the source of the trolling must be a certain gentleman who thinks he's better than Magic Lantern. No guesses for who that is. Anyways, I look forward to the post monitoring. Best of Luck.

I, like everyone else saw the Sony A7S videos, and was completely blown away. While it is superb strategy for Sony to COMPLETELY handicap the camera, despite its insane potential. I believe Sony will introduce this sensor in its 'F' range as well as 'FS' range of cameras, which will see its full potential. While the GH4 sensor is nowhere in the league of the A7S's, Panasonic has not purposely handicap its potential to 1/10th, to make way for its professional range, which is both respectable, as well as sensible. Right now, the A7S is something that could have killed the entire 'C' range of Canon (C100, C300 and C500), as well as many other cameras which use the small form factor. I am quite unsure of why this ridiculously unfriendly anti-workflow monster has been created. I think Sony needs to seriously re-consider undoing the handicaps.

More than 4k (or 6k or 8k), this seems like the Future of Motion Picture Experience: http://reviews.cnet.com/8301-33199_7-57616875-221/high-dynamic-range-dolby-vision-x-tended-dynamic-range-pro-and-beyond/

Andrew, I agree with many things. We could add a lack of XLR ports, and tiny LCD/ OLCD. The 3 inch size is just lousy. Even for stills. If you think of all the things that Video DSLRs actually lack, maybe, its time to go back to the drawing board. I imagine, that, something truly made for Indie Film-makers, especially people who indulge in some, or a lot of guerrilla film-making, would actually be a compilation of the following: A set of lenses, like the Sony QX10 and QX100 camera (though, preferably, with a faster lens, like the Sigma 18-35 f1.8 zoom) , which would be separate from the body, and thus not pose any restrictions in use or ergonomics, or handling. Also, it would have built-in ND filters, like the FS100. Also, if the lens had something like the built-in 5-point axis stabilization, on the Olympus OMD-5, but, built into the lens itself, that would get rid of the need for a bulky and attention inviting stabilizer, like a glidecam or something. Also, with all manual controls, on the lens (lockable), and the same controls on the display/ screen. An attachable screen, like the Nexus 5, atleast 5 inches in size, with a super-fast processor, and maybe able to run multiple lenses, simultaneously. Also, right now, the Sony QX10 and QX100 seem to sit very strangely on phones, since they are much bulkier than the phone. Maybe, this can be addressed. Maybe a bulkier screen may pack in more processing power, as well as battery like. Maybe a high-res wearable display, with built in wi-fi and Bluetooth, for viewing almost live footage. Something like Google Glass, but, maybe in full HD (I don’t know the resolution equivalent of Google Glass). A set of wireless mics, which would look like the Giant Squid mics but with almost no wires. The receiver would be built into the screen. On-board light would a problem. But, I guess, with attachable and on-board light, the bulk issue comes up. Unless, the light is a tiny LED, maybe a tiny version of the F&V 300. A wireless charging option, for the lens, which continuously charges the lens and screen, between takes. It would be like a perpetually charged camera, without lugging around batteries, wasting time on checking battery life, and charnging batteries, constantly. Also, external battery packs are huge, and so cumbersome. Maybe a set of wi-fi cards, which send video to one or more hard-drives, for back-up simultaneous. Better codec. I wish they would work on AVCHD. It occupies such little space, for the amount of information, that it holds. It would be superb to have the equivalent of pro-res, at 1/10th of the file size. I need to sleep. I am getting high on hope. Good night.

Maybe I am just being imaginative and hopeful, but, I think Consumer DSLRs can’t die for many reasons (among others). That is possibly THE largest market for Camera makers. Point and Shoot may sell more,in some categories, but their profit margins may be smaller. DSLRs have a whole market of accessories attached with them. There are rigs, attachable mics, lens filters, tripods, inter-changeable lenses etc etc. Indie Filmmakers using DSLRs to shot films, still constitutes a tiny % of the actual users of DSLRs. Phone cameras, whether they do 120fps or 240fps, still have very poor photo quality. You obviously can’t shoot a pic from a DSLR at the same speed as that from a Phone’s camera, and, that’s why, they must both co-exist.     Also, I strongly believe, that accessories, right now, will be more integrated into bodies, and instead of having a JuicedLink pre-amp which juts out, or some mic, which attaches on the hotshoe, accessory makers will solutions will make solutions more integrated into bodies and forms. Whereas, this may seem difficult, since a lot of bodies are moulded from super-strong Alloys (like Magnesium), I feel, accessory makers, will open up cameras, and replace portions, or maybe make accessories, on the outside, so small in size, that, they would seem either un-noticeable, or part of the body itself. Maybe, camera makers, will allow for such meddling, with the basic camera, without screwing up with the mother-board. Maybe at access points, immediately before the mini-usb point, or somewhere close, accessory makers will be able to attach accessories.   I also feel, that this whole accessory race, and the emergence of Black Magic (and Bolex and GoPro etc), will create Custom Built DSLRs, which will be almost customised, like Desktop Computers, and one may be able to purchase almost exact specifications, based on your ability to pay, and your needs. Like mobile phone companies almost purchase components, and have them assembled, after some basic designing. This way, the scope for specifications could be seriously insane.       That’s just my imagination.

Fancy terminology. Lousy video quality. That's like saying Sony made a processor, that's 100 times as fast as the fastest i7. Though, this being a consumer video recorder, the quality is still damn lousy. The specs, well, that's advertising. God only knows what they put in there.

I have been thinking of the Sigma f1.8 zoom and the Speedbooster combination, since forever. Its the ultimate wet dream, for an Indie Filmmaker. Andrew, it took a while to absorb it in, and I must say, the video is superb. I also find your editing interesting. It makes up for your lack of pan and tilt. I wish Metabones and Sigma address issues regarding manual aperture control for canon mounts. I still cannot believe, that this makes the Sigma an f1.2 zoom. It kicks the very high end Fujinon's in the crotch, some of which, like the Fujinon 18-85mm T2.0 cost Over 100 Times the Price of the Sigma.

    I suggest, you pick up a pair of Zoom H1 ($99) or Tascam DR-05 ($99), and get a pair of Giant Squid Lapel Mics ($40) (get 3, just in case 1 has any issues). You land up spending about $198 + $120 = $318   You could add an opteka shotgun mic VM100 ($80) for reference sound, and you have brilliant quality audio, at a fraction of the cost of Sennheisers.

Have you finalised on the audio gear, or are you still waiting to take a call?

Great write-up. I guess, there are many different things here, and, many of them are contradictory. Lets start them randomly.   1. I read various reports about how Japanese electronics and technology majors have decided to try and collaborate with other Japanese companies, to try and keep profits and technology within themselves. This followed Sony and Samsung fiasco, where the two companies entered into a JV for producing LCD TVs. Sony's wasn't apparent selling as well as Samsung. Also, this pushed Samsung into the next level, leaving Sony, where they started.    2. Though a lot of people have issues with AVCHD, I like the fact, that, as a codec, it has such a lot bitrate. It does seem not to be too easy to color correct or grade, and, the video profile isn't too flat. But, if Panasonic and Sony really want, they could push the 24Mb codec to 100, and push it to 8 bit 4-2-2. I guess, they are not looking to do any such thing.   3. This whole 4k race is still a joke. Most TVs around the world haven't even graduated to Full HD, and people are taking about shifting to 4k. Its just a marketing gimmick. Once u sell 4k TVs, they create 4k cameras, then, 4k Tablets, then 4k mobile phones and phablets, and, then 4k everything else. Till, they start the whole 8k race.    4. Japan still produces some phenomenal technology. Whether it wants to start aggressively selling it like Apple or Samsung, is for the future to tell. Right now, apparently, Sony, FINALLY, has got the right sense, to lower the price for its TVs. Earlier, all Sony TVs carried a ridiculous amount of premium. Sony, has decided, to price its products more aggressively.    5. I also think its a superb thing, that electronic giants don't really have a monopoly, where filmmaking technology is concerned. There are many chip makers, and many component makers, for putting together a camera. This is superb for the price, choices, and, in the end, only benefits consumers.    6. For many different reasons (including the size of profit margins, the time period for making technology profitable after P&A etc) for companies like Canon not really bothering to let its next generation sensors or processors tickle down to consumer cameras.    7. The Blackmagic Pocket Cinema Camera, with its 220Mbps bitrate, isn't exactly consumer camera. So, its also not exactly in the DSLR space, right now. And, not for quite a while. Except with ML hacks.    8. I am not sure how large the filmmaking community really is. I guess, with Photographers and enthusiasts, canon must be selling a few hundred thousand DSLRs cameras a year. Indie Filmmakers, I am guessing, only constitute a very small fraction of that group.    9. I think the whole idea of carrying a separate camera for stills and video, at this day and age is stupid. Especially when tiny point and shoot, and mobile phones take such good pic, and video.    10. Japan doesn't care about NTSC and Pal. It has BOTH. The NTSC and PAL thing is ONLY for export, and maximising profits. 

I also forgot to mention, that the GH2 took the Micro 4/3th platform, to a new high. The entire idea of having far more compact lenses, mirror-less bodies (and thus the idea of absolutely silent, and, theoretically extremely faster shutter) was wasted, on the GH3.