Vincent Laforet Canon D5 MKII Film

John Caballero said:
It keeps getting more hilarious. I am telling you, 90 percent of the viewing public should be categorized as "morons" really, because they would not give a damn between the difference of 24 FPS and 30 FPS. Even if you try to explain it to them they would not care. They just want to see a nice clean image and most importantly a good story to follow. Shoot a piece of crap in the most expensive film camera you can get your hands on and people won't watch it for more than a few minutes.
It is so cool to tell your peers you are shooting 24P and feel that you belong but the general public doesn't really care.
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I agree...but the point is I care...the people I know who watch it care. Thats what matters in the end when its something I shoot.

The general public is really weird when they say what they like vs what is good. "moron" is a very good choice of description.
 
ando said:
sorry to upset a fanboy like you but they're using gyro stabilizers

the most expensive stuff available

nothing is handheld. you think canon is really that stupid to take handheld shots?

at least watch the credits. get it?
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You should watch the BTS...they did in fact do handheld. And I'm not convinced of their "gyro" stabilizer. And all the driving footage and heli footage was BUMPY as hell.
 
:-) it's not "fake" and it's not "post blur".

It is a tilt shift lens.
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It is amazing how many times you have to repeat the same thing for people here to understand whats going on. Laforet even mentions it on his blog. The footage looks great and its only the beginning.

His budget was in all probability $5K and some said he OVERSPENT on the Helicopter ride.


What was not calculated was the cost of his Camera 2999 and glass 125,000+++


But still. Great little video.
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The dude knows what he is doing. Whatever he spent it was worth it for him. It is called marketing and he knows a thing or two about it. That is why he is up there with the big guys. He probably makes that kind of money with a couple of hours work. People in here should learn from this little exersice.
 
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John Caballero said:
It is amazing how many times you have to repeat the same thing for people here to understand whats going on. Laforet even mentions it on his blog. The footage looks great and its only the beginning.
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Its amazing how many people realize how much can actually be achieved IN camera. Now, the all immediately assume its CG.
 
mcshyd said:
I'm probably going to buy the 5D mark II and sell the hvx for a few reasons. First, the 24p cadence is a non issue for me. I consider the image as a whole, and the footage from the canon has this hyperrealism that is seductive and intensely unique. It shoots 1920X1080, which simply means more money for me. People want the biggest image they can get, for better or worse. Finally, and most importantly, this camera is more like the dvx than the hvx. It's incredibly portable. It's image is unique and (seemingly) reliable. It will shoot in low light conditions. It will shoot in low light conditions. It will shoot in low light conditions. I'm tired of throwing 20 thousand dollars of studio lighting at a subject just get an acceptable hd image. Of course, the one major sacrifice I will be making is having to record audio onto a separate source. Meh.

At worst, using a camera like this will challenge my preconceived notions about filmmaking, and allow me to work in unique ways. This is not a movie solution, or an acceptable solution for a professional production house. This is an interesting and cheap option for the broke and resourceful filmmaker.
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I get the enthusiasm and it's well-warranted!

However, throwing away an HVX200 over a 5D to shoot video and expecting to actually make more money with the 5D, which has no manual controls, probably a subpar 1080 image (at best a 720p camera), no true video acquisition form factor (monitoring, audio, etc) is ... a very strange notion.

There are a lot more sacrifices you're missing. Unless you meant more money in a different way.
 
The still portion of this camera is actually quite delightful. Someone showed me a high res image and I swear the person in it was looking at me.

Scary.
 
Kholi said:
The still portion of this camera is actually quite delightful. Someone showed me a high res image and I swear the person in it was looking at me.

Scary.
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Yes, all the still examples I have been very impressive.

But the die hard canon heads are irked in regards to using the same 4 year AF system present in the last 5D...where as the upcoming 50D has a newer/better AF system.
 
Despite the little flaws, pixelpeeking, etc, it looks really nice. I do wish it did 24p, if they put that in I just might consider converting to Canon from Nikon in which I have a considerable equipment investment... but then I'd probably just end up selling everything and go back to Nikon when they release the D800 or whatever.

I want 24p, I might settle for 25p (half of my audience is PAL), and would find 30p a problem- I know others might not and thats cool too. The more video DSLRs there are competing, the better for us all.
 
The Sarlacc said:
Yes, all the still examples I have been very impressive.

But the die hard canon heads are irked in regards to using the same 4 year AF system present in the last 5D...where as the upcoming 50D has a newer/better AF system.
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The AF is something that irks me as well; for an otherwise amazing camera. The problem is only the center AF point is cross type, the outer 8 aren't. What's worse, only the center AF can do F2.8 and below, which makes the fast-primes Canon is known for less useful when using the outer focusing points. If that wasn't enough, the spot-meter isn't linked to the focusing points (only the center). Sometimes you want to meter off of the face, or an object with dramatic lighting, etc. that isn't directly in the center, and its cumbersome to have to always recompose for every single shot when the competitors have these basics down even for cameras a fraction of the price (Nikon even has 51-AF points in all their cameras D300 and above).

Its an amazing sensor, but the AF and metering is a shame, in regards to stills its like having a nice Ferrari engine mated to a 3-speed transmission.
 
Here are some canon XHA1 video grabs from the making of reverie!
 

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This whole thread has become very bizzare.

The footage is nice...no matter how one tries to slice and dice it. Sure...it's a pity about the 30p.....but there are workarounds. Someone mentioned that based on the footage this cam is a 720p cam at best....I don't think so....not by a long shot. Yes....some of the motion was "video-like'....but...honestly...the motion was no different from what I've seen in the movie "Collateral" or "Miami Vice" ....they also had their.."video-like" moments (regardless of shooting in 24p).

Things will only get better from here... It sort of started with the D90...and now here comes Canon. For me...it's about the final picture...and so far this Canon cam beats the Nikon hands down. Just wait for Nikon's 2nd generation...they will get it right. Heck....Panasonic has this cam coming out soon....I can't wait to see what this thing produces. But at the moment....Canon is the winner in my book.
 
besides from the footage... does the camera allow you full manual control? Has this been already talked about? Is it posted somewhere else? Couldn't find any info on this anywhere.

Does it have the same limitations like the d90? Or is it to early to tell?

o
 
John Caballero said:
It keeps getting more hilarious. I am telling you, 90 percent of the viewing public should be categorized as "morons" really, because they would not give a damn between the difference of 24 FPS and 30 FPS. Even if you try to explain it to them they would not care. They just want to see a nice clean image and most importantly a good story to follow. Shoot a piece of crap in the most expensive film camera you can get your hands on and people won't watch it for more than a few minutes.
It is so cool to tell your peers you are shooting 24P and feel that you belong but the general public doesn't really care.
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About what you're trying to refer to?

TV? I can even agree with you. Theatrical mojo? No way. The human perception has some qualities they'll find out on their appreciation. Even though without a full understanding why, anyway. Being the case. And just taking in consideration your logical path, the «90 percent of the viewing public».

In short, 24p or 25p is not 30p. Name: motion. Motion picture is also time, not only space.
 
I agree Emanuel... the general public will notice a difference on the big screen. On a TV....and in many cases a PC.....no. I want 24p.
 
Ian-T said:
This whole thread has become very bizzare.

The footage is nice...no matter how one tries to slice and dice it. Sure...it's a pity about the 30p.....but there are workarounds. Someone mentioned that based on the footage this cam is a 720p cam at best....I don't think so....not by a long shot. Yes....some of the motion was "video-like'....but...honestly...the motion was no different from what I've seen in the movie "Collateral" or "Miami Vice" ....they also had their.."video-like" moments (regardless of shooting in 24p).
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It has nothing to do with Motion or 30p/24p. The 1080 samples are too mushy to call it a 1080p cam. That's my thought, though. Perhaps more footage needs to show up but I don't think it resolves enough detail to be 1080.

Just like the compression and such makes the d90 a decent 480 cam to have, I think the same thing for the D5 so far. It'll be good at 540 or 720.
 
The Sarlacc said:
I agree...but the point is I care...the people I know who watch it care. Thats what matters in the end when its something I shoot.

The general public is really weird when they say what they like vs what is good. "moron" is a very good choice of description.
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I've shown it to over a dozen "civilians" included professional still photographers and all they say is they "love it"!


I think whether we like it or not the 30p High Def is here to stay.
 
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