lafilm

Please trust me on this. After viewing hours and hours of 1DC footage, and seeing how people view it, not ONE person has ever commented on any RS issues on the 1D C. Even in the cinema. It's better than the Sonys, and the cadence helps enormously. As far as amazing 4K 60p goes? Boom. Yea, i cheated on the last video I posted This is the Canon 1D X (Part 2) Goes on sell, in six weeks (April, 2016)

We're now coming in to Spring 2016. The answer is YES.

Bump. FWI, this lens is the sharpest 35mm I have used. Perfect for stills or video. No issues. (no IS however and expensive). Sony users take note with the in body.

Forget about an Alexa or mini Alexa or the new high end cine camera from Panasonic. You want a great cinema looking 4K camera that has amazing colors, great motion cadence, perfect white balance, small and unobtrusive, with awesome lens options (cheap or expensive). A camera your producers or clients or buddies will watch the footage and be blown away. And you can blow it up on a 65 foot screen and fool people it was shot on film. Problems solved. For only $6,000 bucks (US) !!! My friend, pick yourself up a Canon 1D C.

DPStewart t I agree with you. Even 50k is too much money to lose to some hacker, film festival judge, or Amazon. As you say, at this time filmmakers (especially ones using their OWN money) have TO LOCK IT DOWN.

Couldn't you use a program in post? One that fixes the "Judder" (motion cadence) problem? Say in Premeire or FCP or Davinci? I believe it would help tremendously on those 24fps/50 shutter Panning shots.

Interesting discussion. Thanks to everyone for replying. I have to say some of the responses are shocking. I would think (certain) filmmakers wouldn't be so callous towards piracy. But I respect the right to your opinion even if I disagree. I will continue to believe piracy is a serious crime. Yes, tentpole movies and sequels will still make a profit, but we're all indie guys, right? Let's really break this down so everyone can understand in simple terms. Maybe Zack or Ed or Silvertone's director friend can chime in based on their (and future) experiences, but it seems the overwhelming attitude to combat the issue of piracy (smartest?) is to: 1. Do not submit your movie to any film festival. No matter what. Distribute your project quickly to get paid, forget about glowing reviews from festivals and ego hand claps from festival attendees. 2. Do not send out any screener copies to heads of distribution companies, or film festival judges under any circumstances. (or your best friend or your mother). 3. Do not use ITunes, Amazon, YouTube, or Netflix (at least right away) because anyone can copy your film there and upload it for free. 4. Do not make any DVD's/Blu rays, because again, people will rip those discs and upload them for free. 5. Do not go to any show (Comic con, etc..) and hand out or sell screeners of your movie. Because again, they will get ripped. 6. Be very careful where you do your post production. Why? Because in theory (and truth from on-line stories) a person working at a post house can rip off your digital files rather easily. No? Makes logical sense to me. Edit at your own home? Hmmm.. 7. Do not trust a motherfucking sole (soul). So at this rate maybe we should just discuss the art of self distribution (STREAMING) on your own personal website, or a website created for distribution. I know a nightmare unto itself, but maybe the only way to keep your profit and your sanity. Are these all paranoid conspiracy theories? I don't know, but listening to these film guys who have been pirated, and how they have lost $250 grand (and possibly more) and 3 years of their lives (possibly more) makes you want to contemplate suicide (they certainly have) . VHX anyone?

http://tinyurl.com/jdeexz7

Film Piracy. The two dreaded words to filmmakers. Is it even worth it these days? Look at this shocking information. http://www.culturalweekly.com/sundance-infographic-2016-ample-distribution-paltry-deals-and-the-cost-of-piracy/ Imagine plunking down $100k - 500k for your film. Piracy happens. Your film is all over the Internet for FREE before you even leave the festival you got into. Careers ruined. Money and time gone forever. How do you stop it? Hope for a big buy out from a major distributor? (Not likely) Pray the piracy doesent happen to you (not likely) Keep the budget so far down for your feature film (50k or less) that it doesent matter? (Possibility) Listen to this interview with a fairly known horror director whose life was ruined: http://tinyurl.com/hfxuwqt Another post that questions is it worth shooting a feature film? http://tinyurl.com/jolx4wh And another: http://tinyurl.com/h7p72yq Scary and grim facts for independent filmmaker working today.

A lot of the main sources are now reporting the 4K at 60p. Will know for sure within 3 weeks. That being said, the video quality alone still may not match the Canon 1D C (500 motion jpeg).

I agree with this. The 1DC captures absolutely beautiful images. It's really inarguable. The video quality from the 1DC will still be relevant 5 years from now. I understand the price turns people off and no dedicated focusing features. But at the end of the day it comes down to gorgeous 24 fps motion and man does it look good. Even without using the log feature, the colors the cam produces are still true to life.

Thanks araucaria for the feedback. I appreciate it. Thanks sandro, got it.

jhnkng, that did it! Thank you very much!! Thanks Andrew. I appreciate your feedback. jhnkng suggestion worked. Fortunately was able to fix the problem.

Franz, thanks for your response. Yes, it's a no go with eos movie utility. You would think that it would work, but it does not. Unfortunately. Hopefully someone out there has made a similar mistake and was able to open up there locked video files. I cannot seem to find anything on this on the Internet. Perhaps someone on this forum? Thanks

I have a tech question if anyone here can help. We "locked" some video files on the Canon 1DC dslr, (for safety) and forgot to "unlock" the video clips in the camera, before we downloaded into Premeire Pro. Now, in Premeire Pro, the files are locked and we cannot edit them. Of course the original CF cards have been swiped, so no going back. Is there a special program that will "unlock" these video clips, or are we out of luck? Thanks guys

TSV, the Sony is sharp..but GH4 is sharper than the Sony A7s ii. However, it's not as filmic. Better for the Nat Geo channel, surely..but the Sony has a more organic feel. I believe that when you compare S Log 3 to Panasonic V. I was at a filmmaker meeting in LA with over 30 filmmakers. The talk was about the new cams. Every one of them (for low budget) picked the Sonys over the Panny..and yes, over Black Magic as well. (Those are fightin words around these parts Lol). If you really want sharp images out of the A7 series, I would suggest you forget about zoom lenses. Pick up 3 primes. They don't have to be Sony lenses. One of the best features of the Sony cameras is the mount. You can literally get an adapter to put almost ANY lens on the A7. That includes PL lenses, Canon, Zeiss, Nikon..whatever. If you want fast primes you're good to go as well. Some of the sharpest lenses are the Sigma Art series, the new Canon L 35, and the higher end Nikon primes. If you have the money, Zeiss Otus and Milvus are blindingly sharp at 1.4. Good luck.

Thank you sir. Appreciate the feedback.

Jordan, Do you know if 60P in 1080 is also 2.2 crop? And, if so what is the quality of the 60P? Last question if I may: I noticed you used the Zeiss Loxias 35 and 50mm. How would you rate the Loxias for serious film work? Especially as compared to the Milvus line for Zeiss? Thanks man, great work as always.

Good luck on the sale! Great deal. Ebrahim, the 1D X ii may surprise you! It's been over 3 years since the original version. We already know that Canon forgot they created the 1D C (I do agree about the 500 Mbps and 422). Although if the 1D X ii comes with peaking, zebra, and crop marks I think we should sue Canon!! Shield3, Congrats on your (new) family! PS: Great set of equipment there, hopefully you won't have to sell. Good luck with everything!

The Digital Picture just reviewed this lens. Seems no one else has it. Looks extremely impressive. Shame no IS. Heavy lens, though at 35mm may not matter.

Haha..I think you're right!

Fair enough. The 85mm vs 50/55mm debate has been going on for 6 decades. It really is a tough call. That is true about 6K, however, the Otus line (glass elements) take this line to another level above and beyond the Milvus. Bob, the Milvus lenses are full frame. I think they look great but for pure performance the full frame Otus (near Master Prime level which is S35) is superior. Now if I could figure out what focal length..and here comes the 28mm at the end of the month.

Thanks for all the replies. Yes I agree you can get a quality 135mm for much less money. But something about that Zeiss.. Thanks Bob. Nice vid..do you have anything with the Zeiss with people..moving..walking? I think it does compare to the Otus line. Shield3, only stills? (of course it excels at it)..have you used the lens for video?..If so what are your thoughts? Thanks

I actually thought a long those lines, until I saw this: http://www.thephoblographer.com/2013/10/11/review-zeiss-135mm-f2-canon-ef/#.VhBKOudHbCQ

araucaria, why the 55 1.4, instead of 85mm? Are you talking stills? Or, full-frame video? I did read a blog where 2 different photogs said the 85mm was slightly sharper (if that's possible) than the 55mm. Of course it depends on what you're shooting. sudopera, if you have the money the Otus line is far superior wide open (full frame or S35). I believe there won't be much of a difference by the time you're at 5.6 ap. On the Milvus line, only the 50mm and the 85mm are brand new designs. All the other focal lengths on Milvus are taken from old Z (with better housing). The Otus line is really brilliant. Cinematographers here in LA are literally begging Zeiss to bring the Otus out in the CP.2 housing. Even as is, the focus throw is quite long. No de-clicking as on Loxia, however.