Welcome to our community

Be a part of something great, join today!

Log in
  • 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 :)

Zacuto camera shootout 2010 EP3: Surprising insights on 4K and Raw

Terry VerHaar said:
The first thing I would concede about shooting with these DSLRs is that they are probably a boatload of fun to play around with. The last thing I would ever concede is that they are a tool you would want to hang a professional reputation on.
Click to expand...
If you learn how to use these cameras effectively then your professional reputation will be enhanced. Same with any other camera.

When Scarlet does hit the streets it will be the same. Some people will shoot outstanding footage, others will shoot tosh.

I've given up shooting with video cameras, if it aint film, nor RED, then it's a DSLR. These tools suit my style, even for documentary. That's not to say, for many, many, many other applications a traditional video camera is the right choice.
 
David Rasberry said:
Canon's prosumer 3-chip camcorders are very capable, flexible cameras, Crank 1 and 2 come to mind as features that had extensive footage shot on 1/3" Canon camcorders

...
Click to expand...

I agree w/ you that 1/3" Canon's can make lovely pictures, but for the record, "Crank" 1 & 2 looked like shit on the big screen.
 
Peter Moretti said:
I agree w/ you that 1/3" Canon's can make lovely pictures, but for the record, "Crank" 1 & 2 looked like shit on the big screen.
Click to expand...

A lot of Crank was shot on HDC-F950, I think. Crank 2 was purely 1/3" cameras. Anyway, they designed the film to look like shit. Oversharp, high saturation, high speed shutter, it was all designed pop out at the audience. These characteristics are even more visible in Blu-ray, as that is higher resolution than big screen film projection. Any kind of "lovely" photography would only be distracting to an obscene movie like Crank. (I am not saying it is a bad film, as it does the whole obscene thing rather well)
 
Jay Gannon said:
Well no Philip built his career as a highly accomplished ENG cameraman for the guts of 20 years. He's built his blogging career on DSLR's but his commercial work is still mixed ENG and DSLR work.
Click to expand...

You do realize you can have more than one career right ?

He may have started there but what he's doing currently is based on dslr's.

:banghead:
 
Thing is Chris you said "built" a "career", three years (generous) of HDSLR use hardly sounds like his career relative to his 20 years of experience ENG. All you had to do was clarify your point rather than being grumpy and snarky.

have a nice rest of your day (hopefully)
 
When Crank starts with those crappy google maps in the beginning, they have nowhere to go but up in quality :)
 
I've owned a 7d since Oct 09. Want to trick it out? Buy the 18mm lens 7d kit. Invest in practical gear like another lens (55mm-250mm is sharp enough), 2 more canon E6 batteries, as many 8gb Lexar cards (16gb and 32gb cards cause buffer probs that shut down your shots). If you're in studio a lot, buy the ACK-E6 power supply. You don't need a battery grip because you're shooting horizontal anyways.

The only worthwhile 2nd party add on is the LCDVF. (Assuming you already have camera support, camera cases, grey card/chip chart). Even the LCDVF has it's faults- adhesive failure during a shot. But it lets you focus on the fly, and blocks out light.

Skip all the cages, gears, and rods. You had to trick out the handicams because no one took them seriously. The reason 7ds are popular are because budgets have been slashed 90%. Clients expect a $100,000 image for $10,000. Producers have adopted DSLR shooting because they have to. It's good enough.

If you're holding out for a scarlet, that's great, but it has no firm release schedule. The Red Stations had a public release date of April 14. It's June, and Red doesn't even know when they're coming out. They're looking to this forum for answers! This isn't slamming Red- FCC may be the problem. Or it may be supplier issues. Who really knows?

It's just illustrative that you should buy and work with the tools at hand, right here and now, and leave the future to the future. Scarlet was to be released Fall 2009. 7D came out instead. I bought that. Opportunity costing told me to. Time has proven that right. Scarlet is still in progress.

I hope to buy a Scarlet whenever it is released. Today and for the near future, there are shoots for 7d owner/operators, not gonna-buy Scarlet users. When the 7d era ends, migrate to the next platform, which will be Red/Scarlet. Or more DSLRs. If you blow off 7ds, you may blow off gigs that can't handle or afford Red or Red workflow.

When the budgets rise, which they will, producers will carry on those they had favorable relationships with in the lean times. You're a camera operator, not the camera. You're hired for creativity and to know everything. Be adaptable to change. Don't become obsolete like camera technology.
 
Actual shootout - a confession

Actual shootout - a confession

So I've got this long international shoot. Need to be light and portable and no hassles at many customs. My R 1 is too big and heavy, so I go to NAB to see what's up, and the Canons are everywhere. Saw the Canon show, and various others before the Red party. It looks ok (as long as there is no snow in the frame). Some shots look quite good, and Shane Hurlbut is doing the Navy seals with Canons.

Because my epic will not be ready in time, I buy a 5d mk II and a 7 d for backup. Just got back from my first field test.

Yuck. Yuck. Yuck. I shoot nature - Moire all over the place.

Great tool for poor film students, but IMHO, H 264 is not ready for prime time.

The Canons are great for stills and RAW time lapse, and I'll keep them for this shoot since my options are limited, but I have to avoid anything in the world with parallel lines. The Canons in the Zacuto test look good, so I guess in a very controlled setting you can overcome the shortcomings of this god awful codec, and I'll learn to make it work. But until my epic arrives, I am going to suffer.........
 
There is one thing your Epic won't give you and that is great content. Worry about developing your story instead of arguing about things that 99% of public wouldnt even notice on the screen.

I really don't see the point of the constant bashing back and forth about whether the 5D is a pro tool or not. The fact is pros are using it and are making money.. period.
 
Alex Coelho said:
There is one thing your Epic won't give you and that is great content. Worry about developing your story instead of arguing about things that 99% of public wouldnt even notice on the screen.

I really don't see the point of the constant bashing back and forth about whether the 5D is a pro tool or not. The fact is pros are using it and are making money.. period.
Click to expand...

As true as that is I guess the whole holding hands singing Kumbaya about lets make great films just isn't as fun as the whole to the death debate/shouting match over who has the best camera for condition x and budget y.
And hopefully along the way we learn a thing or two about the strengths of each camera so we're prepared for the amazing scripts we should be writing instead of checking reduser every other hour like I do.
 
Alex Coelho said:
There is one thing your Epic won't give you and that is great content. Worry about developing your story instead of arguing about things that 99% of public wouldnt even notice on the screen.

...
Click to expand...

Oh boy, here we go again. :banghead:
 
You must log in or register to reply here.
Back
Top