5D MKIII specs

The d800 in this video https://vimeo.com/38912704 definitely look sharper that what I have seen until now from the canon 5d3, but unfortunately it does exhibit quite some aliasing, don't know how the 5d3 would fare in this situation. In terms of details in wide shot, I think that it will easily beat the 5d3 because with the clean hdmi and proper codec in an external recorder it will keep the detail. Unfortunately I don't think the clean hdmi will reduce or eliminate the aliasing. I would like to see the crop mode which will have less pixel skipping and could be a bit better.
 
Danielvilliers said:
The d800 in this video https://vimeo.com/38912704 definitely look sharper that what I have seen until now from the canon 5d3, but unfortunately it does exhibit quite some aliasing, don't know how the 5d3 would fare in this situation. In terms of details in wide shot, I think that it will easily beat the 5d3 because with the clean hdmi and proper codec in an external recorder it will keep the detail. Unfortunately I don't think the clean hdmi will reduce or eliminate the aliasing. I would like to see the crop mode which will have less pixel skipping and could be a bit better.
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Mosaic have expressed interest in developing an anti-aliasing filter for it, until then I might go for the MKIII. They might get even better results than the MKII on the D800E as it has no OLPF.

http://vimeo.com/39073054 D800
http://vimeo.com/39017300 C300
 
I haven't done any post sharpening yet but I'm sure that would be ideal over in camera. I was just looking at files strait out of camera and 1 looked a bit better than 0 but it could be the old lenses I was using. I shot some ipb and all i, hard to tell the difference- all i looks dithered better because of the noise looks more grain like but that's just a quick glance. The d800 looks really great too, I'd love to try it.

No test footage : ) -I'm headed to south africa tomorrow with it though to finish a project I shot 50% on the f3.

Regarding 720/60p looks decent- much better than it did on the 7d anyways.
 
jcs @ cinema5D said this in relation to ALL-I-

"In my tests I didn't see major issues with I-frame until I cranked up sharpening. I noticed horizontal and vertical line artifacts: looks like a problem with decoding where the macroblocks aren't getting deblocked properly. Andrew Reid of EOSHD found problems in the blacks with noise: I'm not sure that's an issue with the encoder."

The D800 just seems to have some magic fairy dust....if it wasn't for that damned aliasing!

I'm sure I'll be pretty happy either way once I slap a Leica iscorama combo on one of them and call action. Not having to worry about bugs crawling around actors eyebrows will be very cool. Wardrobe was a bloody nightmare with the MKII!
 
I *think* I'd rather take my licks with a little aliasing than have an overly soft image... it's a balancing act.

Need some real footage from the D800 HDMI. Bound to arrive soon...
 
If you shoot a lot of landscape, doco, extreme sport type stuff then the D800 might be the best option, but for narrative work the aliasing and moire is a major drama. The MKII doesn't like clothing at all. Jeans, ties, suits, you name it....it's great for porn so long as the actors are shaved!

I don't want to go down the aliasing road again so until there's a filter for the D800 I'm not gonna touch it....There I just talked myself into buying a MKIII.

BTW the B in IPB stands for b-frames so it's more efficient than the MKII H.264 codec. The 24Mbit/s AVCHD with b-frames on the FS100 looks very nice and a lot of users haven't noticed any real improvement recording externally. ProRes 422 only averages just over 100Mbit/s and it's intra so not very efficient. I still want a CBR high bit-rate hack for ALL-I and IPB but IPB should be a big improvement on the MKII codec. ALL-I at 150Mbit/s+ should be comparable to driftwood if the buffer can handle it. I've not been able to push the MKII past 80Mbit/s with a fast card.
 
Cosimo Bullo said:
I *think* I'd rather take my licks with a little aliasing than have an overly soft image... it's a balancing act. Need some real footage from the D800 HDMI. Bound to arrive soon...
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Dan Chung's review of a pre-production D800 indicated the D800 doesn't allow audio level adjustments during recording, unlike the 5DM3. And there's no mention of it in the D800 user manual. Has anyone confirmed if this is also the case in final production versions of the D800?

I believe audio rec levels can be adjusted with some external HDMI recorders such as the KiPro Mini. Meanwhile, AJA posted some additional info here http://www.dvxuser.com/V6/showthrea...D-ONLY&p=1986109561&viewfull=1#post1986109561
 
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Yes, just move the price point higher. Have a true successor to the 5d2 in philosophy but at a much higher price point. The marketing pitch would be, hey we have this shiny new camera that is done for you video folks (we listen to you) it will cost $ 5/7/10 k and is optimise for video so no inherent camera problem. You don't have the money, hey don't worry you have the 5d3 but you do understand it is a photo camera first and then video.

This is quite intelligent, because buy creating a new category, lets call it video centric first and photo perhaps second, they can charge more.
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I'm not disagreeing with the thought process here...I'm just saying:

The problem with that approach is that it doesn't account for people like me who wonder about how 1 5DMIII could possibly be worth 7 GH2s or a C100* be worth 10+ GH2s? (Yep, crazy joker was selling GH2s for just over 500 bucks the other day.) ....much less for a "C100" or whatever they call it....the gaps in image quality are too narrow between a Hacked GH2, a C300, the 5DMIII, and the C100* (or whatever they call it). In order of IQ:

C300 - 16K
C100* - 7-9K?
GH2 - $650
5DMIII - $3500

(I'm fully aware that people like Barry Green roll their eyes to see a "real" camera like the C300 in the same list as the others (DSLRs)....a valid point BTW.) I'm just asking this question of myself....like many others I'm sure....

Uhhhh.....ya. Little problem here, yes? How much better (if at all) can the C100* be....(than the GH2) WITHOUT PASSING the C300....AAAAaaaaaand justify paying 5-7K more than a GH2???

Tricky, tricky.....sounds like a tough time to be a camera manufacturer....and a GREAT time to be a film maker!!!! :)

Cheers Peeps!
 
HHL said:
The problem with that approach is that it doesn't account for people like me who wonder about how 1 5DMIII could possibly be worth 7 GH2s
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Easy - it's a cutting edge full frame digital stills camera with a sensor area almost 4 times the size of a m4/3 sensor. It has a wealth of high-end professional features and an IQ that the GH2 doesn't even begin to match. The catch? Most of those features are geared towards professional photographers. Some address the videographer, as well, but make no mistake - these cameras are primarily geared toward photographers.

All that being said, and considering the video IQ that the GH2 is capable of, I don't think I'll ever pick mine up to shoot anything other than home movies again - now that I own a C300. Considering what I get from the C300 for it's price, $500 seems about right for what I get from the GH2. I just finished DP'ing a feature that used 3 hacked GH2's, and let me tell you, that's a finicky little guy to have on a professional set. For me, there are just too many workarounds, bugs and compromises to take into account to make it a viable professional tool - especially when there are other tools on the market that address those issues. There is value in features besides just pure resolution. The GH2's potential is phenomenal when used within certain parameters, but there are very real limitations that put a damper on it's possible uses (not to mention the hacks themselves can cause errors - this happened to us a couple of times, but we luckily caught them on set and were able to do re-takes after troubleshooting.)

Given what the 5DmkIII offers to professional image makers (both still and video), I'd say the price point is pretty much dead on. Sure, it's a little higher than what we'd all like, but I think the dollar is a bit weaker than it was when the mkII was introduced. That should be taken into account as well.
 
For my feature the C300 and MKIII are a godsend. The Alexa is amazing but just impractical for the kind of shooting I'm going to be doing. The C-DSLR should be the icing on the cake. The MKIII costs the same here as what the MKII cost me. A grey market import costs $500 less. Camera rental is crazy expensive in Australia so it's cheaper to just buy a C300 and a couple of MKIIIs for a feature shoot.
 
cowpunk52 said:
Easy - it's a cutting edge full frame digital stills camera with a sensor area almost 4 times the size of a m4/3 sensor. It has a wealth of high-end professional features and an IQ that the GH2 doesn't even begin to match. The catch? Most of those features are geared towards professional photographers. Some address the videographer, as well, but make no mistake - these cameras are primarily geared toward photographers.

All that being said, and considering the video IQ that the GH2 is capable of, I don't think I'll ever pick mine up to shoot anything other than home movies again - now that I own a C300. Considering what I get from the C300 for it's price, $500 seems about right for what I get from the GH2. I just finished DP'ing a feature that used 3 hacked GH2's, and let me tell you, that's a finicky little guy to have on a professional set. For me, there are just too many workarounds, bugs and compromises to take into account to make it a viable professional tool - especially when there are other tools on the market that address those issues. There is value in features besides just pure resolution. The GH2's potential is phenomenal when used within certain parameters, but there are very real limitations that put a damper on it's possible uses (not to mention the hacks themselves can cause errors - this happened to us a couple of times, but we luckily caught them on set and were able to do re-takes after troubleshooting.)

Given what the 5DmkIII offers to professional image makers (both still and video), I'd say the price point is pretty much dead on. Sure, it's a little higher than what we'd all like, but I think the dollar is a bit weaker than it was when the mkII was introduced. That should be taken into account as well.
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Fair enough. Of course you do realize that your answer actually excludes you from "people like me" right? I'm not looking for a "viable professional tool". I'm in a different category. I'm looking for (and many folks on this forum) the best image quality for less than $1K. True, I can go and buy a C300....but the fact is that I'm not shooting professional projects anymore. (As in someone is paying me more than 3K to do a job....I'm making less than 5K per year shooting video.) I have great respect for folks like you who are making a living (or more than $50K per year) shooting video. Heck, if you're making $15K per year (on the side)....you've just paid for your C300! ***nice***

As for the photography side of the discussion...TRUE! I was referring to video and should have specified that. (Incidentally, I make much more shooting photography than I do videography, lol)

No less....I acknowledge that C300, F3, Scarlet, AF100, FS100 are great cams for professionals and offer more than we have ever had for less than $20K! Although I can write a check for any of these cams (and nearly have on several occasions), I really shouldn't because I won't make that money back for several years. Soooooooo......that puts me in the....

-yep! I can justify 1K for a camera! (Or 2K for several, or some cheap glass, etc)
-yep! I can shoot some music video for some teen age group that sounds like crap (but dang!....it was fun)
-yep! I have to fiddle with my cam to get anything very predictable or high quality
-yep! Pros wouldn't be caught dead shooting with my equipment
-yep! My first complaint about most cameras is how they're too expensive for their image quality
-yep! Many folks will say that people like me have/are ruining indie film
-yep! I'm just having too much fun to really care....and my wife doesn't hate me for losing our financial stability.

Viva Hacked cams, Chinese cams, D-Bolex...and anything else under 3K that I ***might*** be able to shoot with, have fun with, and get some great quality images (once in a while)....cuz frankly....that's all the time/money that I have. LOL! Cheers!
 
HHL said:
Fair enough. Of course you do realize that your answer actually excludes you from "people like me" right? I'm not looking for a "viable professional tool". I'm in a different category. I'm looking for (and many folks on this forum) the best image quality for less than $1K.
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That's an important clarification, and thanks for bringing it to my attention. I think that your category is a very niche market, and probably one that is very difficult for manufacturers to satisfy and still make a profit given today's technological limitations. I don't think many manufacturers are actively battling for your market category - instead they're saying, "Here's what we got. Pick your poison." Unfortunately, in today's world of S35 digital cinema, I think the discerning under $1k video enthusiast market is not at the negotiating table. And so, third party hacks and the possibilities they bring to the table are where you can go beyond what manufacturers are giving - provided you don't mind putting in the leg-work to make it happen.
 
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I just got back from a stills shoot with the first day of having the 5Dmk3. I did shoot a couple test vids for the heck of it but didn't bring any grip for video. But, as a stills camera (which it is and primarily built for) it's really amazing! The build of the camera is top notch and well above the 5dmk2. The LCD is fantastic. Took a bit to get used to the new menus, but that will work itself out. Dual card slots are great. It's just an awesome camera.
Now, for those who think it's soft and overpriced. I say, go pound sand or go hack the gh2 100 times and have it fail during a shot (mine did earlier this week on a video shoot many times). I know, you can get a darn fine looking image out of the gh2, but I agree with Cowpunk, the gh2 just is too finicky to do serious work on. Too many hiccups and workarounds. While filming some B roll this week on the gh2, I ran into a production team shooting on Epic and got to chatting. Talked about what hack I had on and such. But no matter what image was coming out of the gh2 that day, I couldn't help from feeling like a noob with my plastic camera.
I don't care how good an image is off the hacked Gh2. It's just NOT a professional piece of equipment. Good thing I wasn't shooting narrative or long winded interview. I had the darn thing crash on me 5 straight times doing a simple slide and took up 1/2 hour of wasted time (orion v4b with sandisk 95mit card). It turned out to be the 7-14 lens that caused the crash.

So, for less than a $1,000 I just got major headaches. In a situation like an interview I would FEEL LIKE A DONKEY telling the sitter to stop because my camera froze up. If you want to film the day at the beach with your slider, the gh2 is just great. But no way in hell am I ever gonna use it with narrative or interview hacked. Just not worth it taking the chance.

In short, if you liked what the 5dmk2 gave you and wished that moire was eliminated, then buy the 5dmk3. If you're looking for a C300 image, buy the C300. If you need the ability to take HIGH quality stills and run video on the same shoot, buy the 5dmk3 or the Red epic (if you use continuous lights that is for the epic).
I like the 5dmk3 after just a single day shooting. It's a far better camera than the Mk2.
 
Triumph and Norton rider here... I've always liked the finicky/character mix. And apparently pain too... early RED owner, bought one of the first 5dMk2s (talk about an unreliable beast early one...), and now the GH2 is the fav... it's the image at the end of the day.
 
HHL said:
sounds like a tough time to be a camera manufacturer...
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The C300 is still back-ordered and the 5D3 is back-ordered as well. Seems like a good time to be a camera manufacturer to me.

HHL said:
...and a GREAT time to be a film maker!!!!
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Agreed. More options than ever, whether you are looking for a "viable professional tool" or a sub-$1k "un"professional tool.
 
dustylense said:
I like the 5dmk3 after just a single day shooting. It's a far better camera than the Mk2.
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Great to hear! I just pulled the trigger and now have to wait at the back of the line for the backorders to be processed first-come, first-serve.
 
cowpunk52 said:
That's an important clarification, and thanks for bringing it to my attention. I think that your category is a very niche market, and probably one that is very difficult for manufacturers to satisfy and still make a profit given today's technological limitations. I don't think many manufacturers are actively battling for your market category - instead they're saying, "Here's what we got. Pick your poison." Unfortunately, in today's world of S35 digital cinema, I think the discerning under $1k video enthusiast market is not at the negotiating table. And so, third party hacks and the possibilities they bring to the table are where you can go beyond what manufacturers are giving - provided you don't mind putting in the leg-work to make it happen.
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Cheers cowpunk! Pick your poison indeed, lol.
Big ups to all you Pros. It's great to be here on this forum and learn from you all....even if I'll only ever shoot for the love of shooting, it's worth it to learn from you all! ;)

As for the 5dMIII. I'm sure it will have a strong following from the photogs. We'll see what happens with the vid peeps. Looks like there will be several on this forum. Looks like some are underwhelmed. Also looks like the D800 has some a nice look...some problems that the 5dMIII doesn't have....so....looks like it's getting crowded. If Nikon fixes a few things, they'll be a serious threat for peeps like me....(especially if the sub 1K stuff has clean HDMI out too....)

Mad love to DVXUsers everywhere!
 
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