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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

1080P is Better Than 4K (Or Why I Chose the Canon C100)

Just tweeted this: I tire of the quote "gear does not make the shooter/film" true, but better gear means better product & that is a fact. #4k
 
Jamie_Guy said:
Just tweeted this: I tire of the quote "gear does not make the shooter/film" true, but better gear means better product & that is a fact. #4k
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True, I think part of the reason we keep hearing this quote is because there are lots of people out there who don't understand set design, wardrobe, color theory, composition, color grading, and lighting amongst other things. They look at their own work wondering why it doesn't look great, and they blame the camera.
 
The reason people use the quote is because better gear does not necessarily mean a better product. The only reason you should move to a different/more expensive tool is because you already know how to stretch the limits of the previous tool or the tool you have right now is slowing you down.
 
I think most people have far better tools then they actually need.
 
I stopped reading after he said "4K is 4-5 years away" I call BS on the whole article. PAID for in one way or another. 4K boradcast in japan is on its way, 4K features all day long... 4K vfx, 4K arials, underwater, ect... who the heck is he kidding? Stick to the cinematography, enough with the bs articles.
 
I think what's being failed to mention here is that shooting 4k for 1080p delivery, looks better than 1080p. Your still getting the latitude and the dr from the red camera. The C100 with an external recorder is definitely the best bang for the buck. The c300 is overpriced for a better codec, and the c500 is a bust. You gotta buy a $5k recorder just to film with it.

Im a wedding cinematographer, I choose red because because of the image quality it provides. And my work is a reflection on me and my company. The market is flooded with amateurs shooting with dslr's.

At the end of the day the clients don't give a shit what camera you shot with. If you've got a good story to convey to the audience they will watch.
 
Interesting....
 
4K is today for me. I have a 4K TV and have been mastering my stuff and reviewing it in 4K and it is beautiful. It's kinda hard to go back and watch 1080 afterwards. I am currently releasing my first 4K feature, very scenic, detailed, slow edits, etc. it really shows off the 4K well.
 
I'm sure this has already been said, but it's worth repeating. I like all those other cameras, the C300 and C100 for ease of use and flexibility. i just finished a production with a C300 and it produced an excellent image.
But I own an Epic and a Scarlet. And I've caught myself saying this again and again, I've never had so much fun shooting since my Super 16mm days with my Aaton XTR.
Somehow RED just all feels more cinematic to me, I really can't explain it. I don't know if it's the crispness of the LCD screen, or the interface, the control I have over the image, or the feel of the camera itself. I mostly do documentary / natural history work, so in many ways a large sensor is a real challenge.
I know my clients and audience (for the most part) could careless what camera I use as long as I do a good job.
But I care. It makes a difference to me personally, and I feel in some ways that a high quality camera like the Epic puts me in the image and thus in the story.
I guess if you find a camera that makes you feel that way, then that's the camera for you - if you are in the position to chose. For me it's my Epic and Scarlet.
 
John M. Antoniades said:
At the end of the day the clients don't give a shit what camera you shot with. If you've got a good story to convey to the audience they will watch.
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Thats true, but if you show them 4K they'll love it, and you gotta shoot 4K, 5K or 6K to get that 4K finish.
 
I recently shot in Monument Valley for 4K, I framed and used lenses to make the landscape look grand, often people or vehicles are seen as tiny objects in the bottom of the frame. When these shots are screened in 4K they look very grand and impressive, it feels like an IMAX or something. 4K is a different viewing experience. I love combining the Epic with grand scenes and a 4K screen. Lots of fun.
 
Ryan chose to own what gives him ROI. If that's a C100, then so be it. I have used one and a C300 in the last month. I have also used my F3, my R1, and on bigger projects Epic and Alexas.
The R1, Epic , and Alexa projects had post plans that included colorists. the Canon and Sony ones did not (Well, one of the Sony projects did, but it was a personal project). The Canon was used alongside Nikon and Canon ff dslr cameras.
There was a desire to turn footage around swiftly without transcoding for a very tight deadline..

2 Months ago.. worked (as audio) with 2 F900s for an 'instant' commercial for a national client that tied to a sporting event. Our rough cut was ready by the time I loaded my gear to my truck.

I still find that our cameras are closer to a film workflow than to tape or to baked in look tapeless. And i bought into the Raw 4K system so that I can deliver that when its the right solution.

Ryan fails to mention the C100 lacks smpte timecode, which is a deal killer for me.
 
Oh.. I agree with Ryan that it is a risk that the DoP on many 'real' projects will be pushed out of the coloring workflow. and the non raw cameras enable you to combat that.
 
António Fagundes said:
He's actually right in everything he said...
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Aside of the purposefully misleading title "1080P is Better Then 4K"...

Christopher Mills said:
Oh.. I agree with Ryan that it is a risk that the DoP on many 'real' projects will be pushed out of the coloring workflow. and the non raw cameras enable you to combat that.
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Any "real" projects will actually require the DoP to be directly involved in the color grading process. I have never heard off a single instance where DoP was "pushed out" or denied access to imaging post (be it color grading or anything else). On the other hand I have witnessed over the years many DoP's who just did not give a s*** about the post and then ended up complaining when the final imagery "betrayed their vision"...

Lot of camera operators/owners calls themselves DoP's these days without having a clue what that job actually entails...

"Definition of Cinematography

Cinematography is a creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event.

Cinematography is not a subcategory of photography. Rather, photography is but one craft that the cinematographer uses in addition to other physical, organizational, managerial, interpretive and image-manipulating techniques to effect one coherent process.

These visual images from the cinema, extending from conception and preproduction through postproduction to the ultimate presentation and all processes that may affect these images, are the direct responsibility and interest of the cinematographer.

The image that the cinematographer brings to the screen come from the artistic vision, imagination and skill of the cinematographer as he or she works within a collaborative relationship with fellow artists.

John Hora, ASC"
 
Though I think that the Canon C100 can be better suited for weddings in some respects, there are others where I would disagree. Usually I'll bring my Scarlet with me to our wedding gigs and shoot some just so I can get some practice, take advantage of the resolution by taking some still frames out of it, but mostly, because I like using my camera, and while my assistants are using Mark IIIs I get to shoot with the tool I've come to love. It really has taught me a lot of things about the camera.

This past weekend I had the great opportunity to shoot a wedding where the client asked us for a Same Day Edit, something that is becoming very popular among those getting married. Now that I feel comfortable enough to shoot with RED and to Edit RED, I decided to take the risk and see what it would be like. Long story short, I was able to Ingest, Cut, and Present a 4K wedding video much faster and easier than if I had shot only with my Mark IIIs.

Here me going a little more in-depth about it. http://www.flyfennix.com/editing-a-red-4k-same-day-edit-its-that-simple

I'm always trying to look for the right tool for the type of thing I'm producing. It's good to be wise about the tools you use, but I'm also always willing to learn what the best way to use the tool I love in any situation. It helps me see the strengths and weaknesses of it. Most of my wedding clients have no idea what I'm talking about when I mention 4K, so to use 4K right now can be seen as a waste of hard drive space, but the stuff I've been able to learn and do by not leaving 4K in the closet is much more valuable to me... and I know that though my clients don't know what 4K is right now, they will, and I'll be able to tell them that I captured their wedding in 4K.
 
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