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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 :)

Rumored Specs and Name for Canon Announcement

David Stewart said:
I've noticed Canon video cams - xl1, xl2, etc. - have rather poor low light capabilities. Before buying one I'd have to try it out in low light situations first. I did some recording studio shots with my 7D in low light and the clips were unusable - heavy noise in detailed areas.
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Did you keep the ISO at 1600 or less and what F-stop? It cleans up easy with Neat if you do. I've found that my T2i records great low light at F1.8, but I want even better like the FS100U. I want to be able to record with one candle. lol.
 
I am becoming more and more disgusted by Red fanboys slamming Canon because of lower res. Honestly, I've been waiting for years like everyone else for the Scarlet, but now the time has almost arrived, I think I'm looking forward to the Canon announcement more. Yes, I love Red and their philosophy, I can't wait to own one, but depending on what's announced, the Canon camera may be the better solution for me. Why? Shallow DOF and cost. Cost of the camera itself and of the cost of all the peripherals that go with it. 99.9% of everything I do goes on the internet or on an HD TV. Why would I pay for 3 or 4K? It'd be nice to have, but... I'd love to have RAW and HDRx is a dream, but the res race is almost a flaw to me for RED.
 
With the religious undertone of your post I'm wondering if you didn't almost write Jesus instead of Jannard. That level of reverence appears to be here quite a bit.


Nick Pasquariello said:
Jannard has said, multiple times, that 1080p isn't good enough. 4K is good enough.

This would imply that 3K is only half-good-enough.
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Incredibly, the cinema and it's niece, television have somehow survived up to now without the incredible gift to humankind, the RED. You will be shocked to learn that while you have only ever used this mind-blowing extension of your soul, others have found other cameras to be effective and even terrific tools of their craft and have managed to make both art and commerce using them.

It's a small chance, I admit, but it's possible that someone might like the Canon or AF100 or Arri Alexa or some other tool, despite your finding them worthless.





Benoît-Joan Clariana-Roig said:
That cam would be a joke, especially for the cinema.
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David Stewart said:
I've noticed Canon video cams - xl1, xl2, etc. - have rather poor low light capabilities. Before buying one I'd have to try it out in low light situations first. I did some recording studio shots with my 7D in low light and the clips were unusable - heavy noise in detailed areas.
Click to expand...

The XL-1, XL-1S, XL-2 also relied on a crappy family of auto-focus lenses that were stupidly extended into their HD camera line (Canon XL-H1).

However, before anyone underestimates Canon, think of how many possible Red shooting days were lost to a Canon 5D Mark II. :mad:
 
I kindly ask for anyone not worshiping RED to go to canon forums. This is a happy day for the fan boys and this day should be all about enjoying RED and criticizing the rest.
 
Enjoying... Yes! Criticizing... sorry, can't agree with you!
 
4k is beautiful, be we just went out to 2k from two perf 35mm and it looks pretty fantastic. More resolution is always a good thing (provided, of course, it doesn't come at the expense of other things in terms of image quality), but to say that 2k is not "enough" when most theatres still project from film with a 2k digital intermediate or on 2k projectors is nuts. Sure, in the long run that will not always be the case, but beautiful images are more about good cinematography and colour grading than they are about resolution. Of course, having both is always the best.
 
Meh ... first off folks, this is a Red forum ... expect some fanboy behavior.

Second ... I think Jannard is right. 4K is coming. Manufacturers are going to start pushing 4K displays to the home far earlier than I expected.

Now, some of you may not have been around the business long enough to experience the shift from SD videography to HD videography. That shift took quite a while. The entire time though, smart videographers and clients were working in HD formats, posting HD and then delivering SD.

Then ... when channels came out that were broadcasting HD ... they had content ready to go. They made a pile of money by having HD content - essentially they sold work they had already done for new program prices!

Now ... if you try to shoot and post SD ... well that's not acceptable most places. Even my ultra-staid government clients that want deliverables in SD want me to shoot and post HD, so that when they finally make the shift over, I can just redeliver and they can have a library of content.

Jannard has a phrase for this I have already used successfully in my sales to promote shooting Epic: "Selling Future forward"

So, you just need to make up your minds.

Do you want a new camera whose primary output is intended for TVs and cinemas of 2011, or do you want a camera system whose primary output is suitable for the marketplace in 2013?

Before you snap off an answer ... look at the full preproduction to consumer cycle of a feature film. 2 years from first frame to delivery is pretty typical. Even TV is shooting 6-8 months ahead of broadcast ... and given syndication goals, TV execs want to be able to deliver a syndication ready program in the broadcast standards of 2013 and later ... and the home media of that time as well.

So ... make a business decision. Will your media live in the past or the future.

My experience is that its best to focus your efforts on selling future forward.

Now, I'm going to go see what Canon and Red are talking about instead of babbling non-sense with you fine folks.
 
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