4K on EOS series

well all three have overheating issues.... so they cool down together.... ;)

Im not saying you cant use it. im just saying i would prefer not to use the 5DII, GH1, or 7D as a primary camera.

if the producer is demanding it i will explain why not to use it.... but if he cant be swayed, 5dII it is... i jsut shot a music video on 5D II and the producer specifically asked for it. I shot it anyway, and we had overheating issues, monitoring issues etc...

the footage looks "great". It really does, but if this was going to be broadcast, i would have fought for a EX1 and SGpro only because of the compression that becomes evident in the shadows.

That being said it was awesome to shoot at a 160ISO, and have a super clean image. that was fun :)
 
Regarding the overheating issues on the 5D, what were the shooting conditions? Was it hot, did you have it hooked up to an HDMI monitor all the time, did you have it plugged into the mains and was it set to live view continuously for an hour or more? What proportion of that hour was it recording for?

Its quite valuable experience you're picking up here in terms of defining the limits of the camera on a professional set.
 
White Cyc Sound stage with a lit grid, on tripod ( oconnor 50 which just looks ridiculous by the way...) and we were going for a fashion look, with a twist. Lit with a 5K tungsten unit, as a key, and lets say the ambient temprature was warm. maybe 80 degrees. Live view was on as long as the camera was on, running off battery power. we were running HDMI out, to a small Plasma screen, but oddly the monitor would only show the 480P signal. i never got HD out of the camera to the monitor. perhaps the screen couldnt decipher a 1080p signal.... or a 1080i? i have no idea what comes out of the 5D.

one thing that is obnoxious is that the on camera LCD shuts off while HDMI is connected. so i have to look at the client monitor to focus and frrame up.... my viewfinder gets blocked by the Mirror... Bleh....

This is what im talking about when i say camera is no good for pro situations. I cant work with the camera while the client is looking at it, without a HDMI to SDI/Component converter so i can spread the signal to multimple monitors. No client wants to look at a 2" screen, and guess what they demand a client monitor. that's part of the deal and they have a right to one. they are paying the bills. And you cant say, come sit with me at camera, because often corporate and "money" men dont know what our jargon means, and they start doing things like calling "cut" when they see a small problem. They don't get that the rest of the take will be fine and they can use the rest in the edit... its disruptive and nerve racking. if youve ever shot a big commercial you know the cardinal rule. Keep the corporate folks in the video village as far away as possible.
 
The 5D outputs at 480p in a stretched 4:3 to 16:8 aspect ratio while recording unfortunately. Apparently it's 1080i whilst not recording, which is handy. Yeah, I see why it's no good in that situation. I see what angle you're coming from now. But the image quality - now that's professional. (Mostly)

A monitoring screen for the money men is very useful as long as it has a long cable.

You can put the cable out the window and the screen on the road, and arrange some chairs :happy:
 
well it was getting 480P when in Non Recording as well.... weird.

If i could send the money men home i would....
 
I totally agree on the redundancy factor when it is truly needed and reasonable. What did you do when it was tape, pack around an extra VTR for every shot? What about film? Life is a risk, reducing it (risk) is a good thing. Did you ever consider that renting a better camera and glass than the stuff you own might be a higher risk since you don't know the history or in your case the quirks of the rental equipment? Did you test the rental equipment before your shoot and lose incident?

Timur, I'm not trying to rip you on this, I am suggesting there are different perspectives on professionalism and reliability.

Best Regards,
Grant
 
Check out day buddy.... Spend a day in the testing bay of Abel, Handheld, or Tamborelli. Shoot a test tape, check for dropouts, run a scratch test on film shoots, check backfocus, gate weave, crystal synch... etc.... This is part of the process. Your AC should be doing these things to ensure the quality of the equipment.

I have had cameras go south... a BL4's motor went out of sync with the pull down claw, and a half days footage was lost.... Why? because we did a quick checkout, we didint run a proper test of the motor and shoot charts, and gate weave tests. had we done that we would have caught it.

Yes risks are there, but you have to account for them by being as careful and thourough as possible. When your First for Demanding DOP's you learn these good habits, and they carry you through tough times on set.

Mad props to Tim Naylor, Sanne Kurz, Brian O Carroll, Shiloh Crawford, Dave Philips and many others.... they helped teach me how to do things right. Now i hold the same high quality standards on my sets.
 
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