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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 :)

Dsmc..

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Jannard said:
Please keep up the skepticism. It is very good motivation around here.

Jim
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If skepticism will help motivate this project forward even more, then allow me this:

What are you thinking? You actually think you can do something better than Canon or Nikon?! Have you seen stuff from they're cameras? They're the Holy Grail(s) of photography! They've been the de-facto standard for YEARS. NOBODY ever has been or will be able to outdo them- including RED (tm)...

How'd I do? :sarcasm:
 
kylehance said:
If skepticism will help motivate this project forward even more, then allow me this:

What are you thinking? You actually think you can do something better than Canon or Nikon?! Have you seen stuff from they're cameras? They're the Holy Grail(s) of photography! They've been the de-facto standard for YEARS. NOBODY ever has been or will be able to outdo them- including RED (tm)...

How'd I do? :sarcasm:
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Perfect.

Jim
 
We are skipping a generation in design and possibilities. Someone just challenged us to compete in the big leagues. We accept.

Jim
 
Dang, this is fascinating to watch. Hopefully you didnt lose too much in skipping that generation.
 
Thanks Jim, for not taking the easy (Sony, Canon, Nikon) approach to planned obsolescence. Everyone seems to be excited about the 5DmII video over at Vincent Laforet's blog but that camera will not find the true DSLR/DCinema hybrid market without 24P or a professional codec. But you know that already don't you?
 
Evin Grant said:
Thanks Jim, for not taking the easy (Sony, Canon, Nikon) approach to planned obsolescence. Everyone seems to be excited about the 5DmII video over at Vincent Laforet's blog but that camera will not find the true DSLR/DCinema hybrid market without 24P or a professional codec. But you know that already don't you?
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I think so... :-)

Jim
 
A quote from Vincent Laforet's blog:

"A top commercial film editor who who regularly edits RED camera footage -

and has seen the raw footage from the 5D MKII -

says the 5D MKII is “far superior to the RED camera” in terms of low light performance…"


LINK>>>

I wouldn't say that.

Two days ago I just tested Leica Noctilux 50mm f/1.0 on RED with IMS and

would say that Canon 5D MkII with Canon 50mm f/1.2 L lens never can beat RED with Noctilux.

RED just needs a lens that is fast like a Leica Noctilux and nobody can compete with that in all industry.

It's not about a camera it's about a lens when we are talking about available light shooting.

RED Mysterium has enough DR and latitude for a Noctilux type of lenses.
 
The Third Man said:
A quote from Vincent Laforet's blog:

"A top commercial film editor who who regularly edits RED camera footage -

and has seen the raw footage from the 5D MKII -

says the 5D MKII is “far superior to the RED camera” in terms of low light performance…"


LINK>>>

I wouldn't say that.

Two days ago I just tested Leica Noctilux 50mm f/1.0 on RED with IMS and

would say that Canon 5D MkII with Canon 50mm f/1.2 L lens never can beat RED with Noctilux.

RED just needs a lens that is fast like a Leica Noctilux and nobody can compete with that in all industry.

It's not about a camera it's about a lens when we are talking about available light shooting.

RED Mysterium has enough DR and latitude for a Noctilux type of lenses.
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No comment on skew? And compression codec? And no 24P? I have to wonder if the still guys know what to look for?

Jim
 
Jannard said:
No comment on skew? And compression codec? And no 24P? I have to wonder if the still guys know what to look for?

Jim
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Jim,

For sure that average Canon shooter doesn't know anything about that.

Canon 5D MkII HD video is just a sugar that goes with Canon's 5D MkII launch and

also Vincent Laforet's type of blog "blurb" is a part of that advertising campaign.

And this sugar is just a "sugar" and not a digital cinema quality video.
 
Glass is not an issue with EOS

Glass is not an issue with EOS

The Third Man said:
Two days ago I just tested Leica Noctilux 50mm f/1.0 on RED with IMS and

would say that Canon 5D MkII with Canon 50mm f/1.2 L lens never can beat RED with Noctilux.
Click to expand...

Reshooting "Barry Lyndon"? :innocent:

A bad argument for a camera that uses a smaller sensor.

Canon DSLRs are nice because they take almost any glass you like (whatever your reasons may be), including Leica R, Contax/Yashica mount, etc ... . Leica M is an exception but not a religion. For instance, there are those Zeiss T* lenses, or whatever you wish to put. This is why the 5D II could be more fun than the just abandoned Scarlett concept for people with "modest" money. And besides, the sensor used for video is 36mmx20.25mm and so the requirements in terms of performance of the glass are even lower. To get the same DOF as RED One with a 50/1.0, you could take an 80/1.2 or 80/1.4 if that makes you happy.

Given the strong compression that the video undergoes, I think that optics are a non-issue for video quality concerning the 5D II.

There are several issues where Canon deliberately crippled the video function, that is a different topic. However, why would they cripple it if they did not think about building a pro-Camera with a big sensor?!
 
Shoot a kid's birthday party at 1/500th and it will look like "Saving Private Ryan."
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I've been to a couple of kid's birthday parties and Saving Private Ryan was a sea of tranqulity compared to those parties!
 
For sure the biggest challenge to Red and all the other D-Cinema manufacturers in the next generation will be sensitivity. The 5DmII is not a serious contender for real production. It's hobbled by among other things, Mpeg 4, 30P, Skew (According to Jim). But it won't take Canon or Nikon very long to figure these out. Lucky for us Jim and Co. have the momentum and the will to get there first, and to do it in a way that will consider the needs of D-Cinema as well.
 
Daniel Chrisander said:
I don't want to be attacked by fanboy gangs for doubting God himself.

But, don't you think you are nitpicking here. Remeber you are comparing a tiny pocket sized DSLR for $2700 with
a Humongous, unwieldy, cumbersome, monster RED for $17500 + handles+nuts+bolts+LCD+Mic+Plate+Cables+8G cards that last 3 minutes each+etc+etc for $45000.(Or, in otherwords, I think MKII is 1/20 the price of usable RED set up.)

MKII is a very low priced, pocket sized, easy to use, direct connection to TV, nothing else to buy camera that takes fantastic stills and wonderful videos DSLR. 30P works fine for TV. (1080p TV is where we ordinary humans watch our videos. Not 4K projection screen, after a cumbersome post process.)
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I don't think skew, a consumer compression scheme and 30P only is nit-picking... unless you want to shoot home movies. Do you really believe that this camera is worthy of shooting episodics? Really? Have you ever been to a movie set?

RED is a professional camera system. And you are tying to make a Canon 5D MK whatever a professional motion capture system at any price? What exactly is your point?

Jim
 
pango said:
Reshooting "Barry Lyndon"? :innocent:

A bad argument for a camera that uses a smaller sensor.

Canon DSLRs are nice because they take almost any glass you like (whatever your reasons may be), including Leica R, Contax/Yashica mount, etc ... . Leica M is an exception but not a religion. For instance, there are those Zeiss T* lenses, or whatever you wish to put. This is why the 5D II could be more fun than the just abandoned Scarlett concept for people with "modest" money. And besides, the sensor used for video is 36mmx20.25mm and so the requirements in terms of performance of the glass are even lower. To get the same DOF as RED One with a 50/1.0, you could take an 80/1.2 or 80/1.4 if that makes you happy.

Given the strong compression that the video undergoes, I think that optics are a non-issue for video quality concerning the 5D II.

There are several issues where Canon deliberately crippled the video function, that is a different topic. However, why would they cripple it if they did not think about building a pro-Camera with a big sensor?!
Click to expand...

The skew and too much motion blur that Jim and me were talking about you could find in any Canon 5DMkII hD video.

The example photo see below.

The example with too much motion blur of Canon 5DMkII HD video download here (7.1 MB, double click to download) >>>

Canon5DMarkII_crop.jpg



Also, btw, I can swap many types of lenses on my RED using IMS:

Arri PL Mount, Panavision Mount, BNC-R Mount, Professional F-Mount, Nikon F-Mount, Canon EF-Mount, Canon FD-Mount, Contax Mount, Leica-R Mount and Leica-M Mount.

Canon 5DMkII cannot swap more types of lenses than me with IMS on my RED.
 
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