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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 :)

Scarlet vs GH1

2/3 is tv
 
2/3" is only "TV" if you shoot it for TV.
Look at the works of Darren Aronofsky, Danny Boyle/Anthony Mantle (shot on 2/3" SI-2K), Mike Figgis, all those who used 16mm or F900, Thompson Vyper for great feature films, etc.

There's a place and purpose for every format in cinema.
 
you're wholly right but me stands.. 2/3 is tv

edit
sure it is mmost or Mr Mullen.. is wholly better than completely?.. but me stands.. 2/3 is tv
 
filmmaker's gang said:
you're completely right but me stands.. 2/3 is tv
Click to expand...

If one doesn't immediately assume "bigger is better," and one doesn't invoke an air of superiority based on one's own investments, it can more easily be seen that all of these things are choices, both technical and creative. Michael Mann chose to shoot "Public Enemies" on a 2/3 inch camera not because he couldn't afford anything bigger - he could have used anything he wanted - but because there was something about the look of that particular camera that he very much liked and felt was appropriate for the way he wanted to tell that story. It's a choice, like anything else.
 
filmmaker's gang said:
you're wholly right but me stands.. 2/3 is tv

edit
sure it is mmost or Mr Mullen.. is wholly better than completely?.. but me stands.. 2/3 is tv
Click to expand...
2/3 is a format born from 16 mm.. adopted by tv when tv thought to kill the big screen.. same period of time.. 3D at big screen was being killed by the 35 mm DOF & bokehssssssssssssss
 
The issue here is mb/s and $ and I can tell you that at Full HD resolution I don´t see an extreme difference between the footage of HD cameras. If you talk about lenses I agree.If you talk about tape or solid memory I agree...But remember something there are 1/3 inch CCD camera shooting amazing footage and being used on TV documentaries and commercials. I can tell you that because that is my business. Many people use prosumer cameras to shoot commercials. And so what? Every camera is adapted to the director´s purpose. I have seen so many excellent work done with a GH1 and too many terrible shots done with a RED. So bad that shouldn´t even been posted as an example. So this backs up my belief. Every camera will work as long as you´ve got "HANDS". And that´s all...Don´t talk to me about compression or all those silly arguments because the HD cable broadcast has more compression than any of your cameras. Just work creatively, try to explore the pros on your equipment and do not use the cons...That is the right attitude... If not you might find yourself in a situation in which I was 10 years ago when I couldn´t shoot commercials because I didn´t have a 35mm cinema camera....
 
Well said Augusto. But one has to work within the limitations of a camera system for best results and know what those limits are. Especially for work done for paying clients, being too optimistic about the capabilities of a particular camera can get one into trouble. Pick the appropriate tool to suit the work.
 
100% right

100% right

David Rasberry said:
Well said Augusto. But one has to work within the limitations of a camera system for best results and know what those limits are. Especially for work done for paying clients, being too optimistic about the capabilities of a particular camera can get one into trouble. Pick the appropriate tool to suit the work.
Click to expand...

I agree 100%. I think our biggest problem are the "paying" customers.I had people come here to edit commercials that refused to work with FCP...Why? Because their children had the same software at home and if he wanted FCP he would have asked his children to do it... lolololol
This is the kind of mentality I actually witness everyday from paying customers. This line of thinking comes from small minds... Remember when after effects was some "cheap" software to play around with video effects? Everybody wanted flint, flame, inferno....We actually spent thousands buying SGI and expensive hard and software when we could do virtually the same although it would take two weeks to render... Then people realized they could have render farms... so what I think the revolution is going to be? It will be normal people using normal tools to make art!!! Good movies with small budgets. Although RED is one of the top cameras in the world it costs a fraction of what a so called HD film dedicated camera costs... And we came to a point in which is better not to spend money on a camera because next year a new model will make yours obsolete and happening every year....
I am investing in creativity mainly, user friendly software and great workflows... Saving time and money is a must now.To us the client TV stations film distribution companies etc...
 
I don´t think so

I don´t think so

Tanner Field said:
Hey Guys,
but I consider either the GH-1 or Scarlet 2/3 to be a stepping stone to an eventual S35 or FF35 where I would end up having to start my collection all over again.
Click to expand...

I don´t agree with you when you say that you would have to sell the lenses if you buy Scarlet or GH1...For instance there is a PL mount adapter by hot rod cameras for the GH1... You can start your collection by buying some Zeiss MASTER PRIMES or ULTRA PRIMES. Then you will have lenses for life...even if you star with a GH1. The cheapest of one of theses lenses cost $15 000... I am saving to buy a set... I will buy the lenses and then I will keep them doesn´t matter what camera I will use in the future... There will always be a PL mount adapter.
Do you know the GH1 sensor is about the same size of the S35? Do you know that full frame is ONLY for still photo shooting? So your problem is solved... Buy the lenses and if you work in video forget the full frame (or not) and buy some good Zeiss PRIMES....
 
My GH1 comes on the 15th....I'll be sure to post uncompressed frame grabs and raw footage. Something that seems to be seriously missing online.
 
Has the GH1 even been released in the states yet?
 
Back ordered... The release of this camera was horrible. They must have literally made only 15 of them. :emote_headwall:
 
GPSchnyder said:
What really sucks about the GH1 here in Europe is that there is 1080 25p and 720 in 25p and 50p. Would really like to have 1080 24p (but thats not the Problem) and 720 30p (for minimal slomo) plus 60p (for a bigger slomo).
The hardest thing is the 30p. I really like the Idea to have scenes with that gentle slomo recorded in cam.

If someone in the US wants the 25p/50p Thing as hard as I want the 30p /60p thing maybe we could swap that thing ;-)
Click to expand...

Surely this is just a firmware issue? It's the same camera. Just install the US firmware, and surely it should work?
 
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