5D replacement announcement next week

alpi69 said:
I am sorry, I didn´t want to troll. I agree the GH2 is ridiculous good with that hack. And if I would only shoot features with crew it would probably be the way to go, but my work is so variant from quick-turnaround docs to commercials that I need a cam that works in one-man-mode just like in rigged mode. And the DSLRs are simply not effortless enough anymore.
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No worries, my man. All good. I was just watching some of your pieces, btw. Love the alpine stuff and I can see the quality in each piece. Kudos. We too do a lot of extreme environments form north pole to... well nightclubs with beer being poured on us!

Are you 1969? I'm 1967, and so guessing Squig is 1970?? So we're all similar, old and young at one!
 
Kholi said:
Let me know when you finish a feature, get it distro'd. Then come back and tell me that. =]

The idea that an audience noticing your crappy image "because your script sucks" is one of the most ridiculous filmmaker diatribes I hear. They're gonna notice an image sucks because they just saw a 15 Million dollar movie shooting with the best money can buy last weekend, and exhibit c looks like "good youtube video" to them at best.
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BS Kholi, there's loads of great lo-fi looking movies shot on DV, 16mm etc. My favourite era was the 70's. Serpico and Taxi Driver look like they were shot with a 5D. OMG only 540 lines! I want my film to look like lo-fi film, sans aliasing and moire. To an audience it's all about getting into the story. I can think of a bunch of $15-100 million movies that look fantastic but the stories are seriously lacking and I can't be bothered sitting through them just because they look good.
 
Cosimo Bullo said:
No worries, my man. All good. I was just watching some of your pieces, btw. Love the alpine stuff and I can see the quality in each piece. Kudos. We too do a lot of extreme environments form north pole to... well nightclubs with beer being poured on us!

Are you 1969? I'm 1967, and so guessing Squig is 1970??
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Jah

I was a DJ, plenty of beer been poured.

Kholi is a young punk....he'll wise up
 
squig said:
BS Kholi, there's loads of great lo-fi looking movies shot on DV, 16mm etc. My favourite era was the 70's. Serpico and Taxi Driver look like they were shot with a 5D. OMG only 540 lines! I want my film to look like lo-fi film, sans aliasing and moire. To an audience it's all about getting into the story. I can think of a bunch of $15-100 million movies that look fantastic but the stories are seriously lacking and I can't be bothered sitting through them just because they look good.
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My iPhone calendar says 2012.

You're entitled to believe what you want about story etc if it helps you sleep. But all you need to do is check box office mojo or the numbers to see that for a mass majority story doesn't amount to much. Yeah, if story matters more than the experience for you then you are the minority.

I hope for your sake that your 3M budget has about 500-1M carved out for a serious face and or you're hiring a named producer.
 
I was a DJ and now I am live-directing concerts and I miss the smell of spilled beer in my container......NOT.

On topic: agree with Squig, the audience looks more at the story than the resolution. Heck, who ever watches our stuff in true 1080p?
Skript, actors and light are way more important than the camera. But the camera is the one that captures it, so if you believe in your script, action and light....you better get the best cam you can afford so you yourself are in peace with yourself.
 
Kholi said:
My iPhone calendar says 2012.

You're entitled to believe what you want about story etc if it helps you sleep. But all you need to do is check box office mojo or the numbers to see that for a mass majority story doesn't amount to much. Yeah, if story matters more than the experience for you then you are the minority.

I hope for your sake that your 3M budget has about 500-1M carved out for a serious face and or you're hiring a named producer.
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"All you need to make a movie is a girl and a gun" Jean Luc Godard

Might have some serious faces doing cameos

No named producer

There should be enough action to satisfy the ritalin generation

Wot 2012 already? I better hurry before the time ends
 
alpi69 said:
I was a DJ and now I am live-directing concerts and I miss the smell of spilled beer in my container......NOT.

On topic: agree with Squig, the audience looks more at the story than the resolution. Heck, who ever watches our stuff in true 1080p?
Skript, actors and light are way more important than the camera. But the camera is the one that captures it, so if you believe in your script, action and light....you better get the best cam you can afford so you yourself are in peace with yourself.
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That's it and Kholi kinda said it himself, you get the aesthetics right to please yourself not the audience, you're just bringing them along for the ride. I watched a really dodgy 480p copy of one of the biggest blockbusters of the last few years. I know it looks amazing but the story was average so I didn't bother watching it at the cinema or on blu-ray.
 
Kholi said:
You're entitled to believe what you want about story etc if it helps you sleep. But all you need to do is check box office mojo or the numbers to see that for a mass majority story doesn't amount to much. Yeah, if story matters more than the experience for you then you are the minority.
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You should´t mix up budget, story and our tiny problems if the 5D, D4, C300 or GH2 are better. Box-Office hits usually put the same amount of money into their marketing as into production. What suffers is the quality of the script (and acting and editing I dare say).
But every now and then a film with a "story" comes out and beats the big marketing-films. "The Full Monty", "Big Fat Greek Wedding""blair Witch".....stuff like that. People couldn´t care less what it was shot on and if it is razor-sharp or not.

When I went for the C300 it was merely because of workflow. I just wanted a 7D without the problems and a nice highlight-roll-off (which the AF100 for instance never showed me).
 
alpi69 said:
When I went for the C300 it was merely because of workflow. I just wanted a 7D without the problems and a nice highlight-roll-off (which the AF100 for instance never showed me).
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Everyone who worked hard to get great pictures out of the 5D can give themselves a pat on the back. If it wasn't for them there wouldn't be a C300. I'm really happy Canon made it, while it's out of reach for a lot of people the tech will trickle down and for those with a bit of a budget it allows us to shoot big budget looking work for not a huge amount of coin. These 2nd gen HDSLRs might just pass the Kholi sniff test too.
 
squig said:
Kholi said:
If someone around me gets one I'll test with an hdmi recorder. Truth be told I am only a fan of the features, not the image at least from what I've seen online. I'm not all that interested until they start doing away with Moire and aliasing. GH2 is stupid cheap, it performs way beyond its class and it's here now.
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wotchewtalkinabout willis? The post vimeo compressed resolution in that promo vid looks really good. The 5D wouldn't look anywhere near as good and the dudes that shot it said the same. It should have 1 to 2 stops of dynamic range over the 5D and 2 to 3 stops in useable ISO. Reportedly rolling shutter, aliasing, and moire are under control. What's not to like except the price tag? It could be a serious contender. Plus it has 3 crop modes, you get a GH2, a 7D, and a 5D in the one body!
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Exactly my own thinking why to me, D4 is the best compact 'movie' camera out there. But we can also call it "the" SUV of the cameras... : D Moreover, you'll have the best autofocus if for some reason you'll need the quickest shooting your time will only be able to afford. Unless this Canon will bring any surprise. Well, they need to compete with Nikon or they will be losing the glass market as well. They don't even need to wait for Sony to improve the sensor to add to their line. So, who knows?
 
squig said:
Everyone who worked hard to get great pictures out of the 5D can give themselves a pat on the back. If it wasn't for them there wouldn't be a C300.
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On that Barry, you'll need to agree. The same for your AF100 as far as GH series concerns.
 
alpi69 said:
You should´t mix up budget, story and our tiny problems if the 5D, D4, C300 or GH2 are better. Box-Office hits usually put the same amount of money into their marketing as into production. What suffers is the quality of the script (and acting and editing I dare say).
But every now and then a film with a "story" comes out and beats the big marketing-films. "The Full Monty", "Big Fat Greek Wedding""blair Witch".....stuff like that. People couldn´t care less what it was shot on and if it is razor-sharp or not.

When I went for the C300 it was merely because of workflow. I just wanted a 7D without the problems and a nice highlight-roll-off (which the AF100 for instance never showed me).
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Don't worry, I'm not mixing anything up. I spend a good fifth or so of my days researching sales, marketing, deals, all of that and another quarter developing. EVERY day. This isn't an exaggeration. People can believe that "story" matters all they want in feature films. You want story, go to television, read a book, or log on to facebook.

Most consumers, especially today's major target demographic, are paying for great experiences, which sometimes means very sub-par stories. Paranormal Activity is your Blair Witch for this decade ,and there sure as hell isn't any good story going on there. Sorry. Try Chronicle, let me know how great the story is there. Why are Video Games destroying just about every other entertainment medium out there?

Experience.

If you want to make money you're doing obvious concepts with large budgets and pretty stout marketing budgets. And you're executing like a rock star. Depending on genre/content, you're probably also hiring faces. If you aren't concerned about money and you have it to burn, then you can definitely go and shoot your super awesome story for festival circuit. Even then, most of those have poster faces, still.

I digress, though. If it's easier to get on with the concept that, in feature films "story is king" then okay. Have at it! xD I'll be over here with my own demo comparing everything to everything else; because that's what we do, even when we don't know what's going on.
 
Barry_Green said:
But as long as it sits in that DSLR form factor, no thanks.
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I completely respect your opinion Barry and understand why you would not be interested in DSLR's and their "form-factor".
However I LOVE the form-factor and find my 5D much easier to use then traditional handheld camcorders.
I've shot a variety of projects with RED, HVX, DVX, HPX170/300, XL2/XH-A1, EX1/3, etc. and a number of shoulder mount cameras and I by far enjoy using the 5D the most.

To me a DSLR is akin to a good video game controller, small, light-weight and all neccasary controls are at my fingertips.
I literarily do not have to move a finger and I have access to iris, WB, ISO, shutter, etc. again this feels like a video game controller. Whenever I have to shoot on traditional camcorders now, I find myself fumbling about and having to reach around to push different buttons/dials for these adjustments. I know all these cameras that I listed like the back of my hand but I am just fastest and most profiecient with the 5D.
One thing you CAN NOT do with the HVX's, EX3's, F3's. etc. of the world is tear it all down to get it to a really small DSLR-like package for those times when you need to be lightweight and discreet.

Are there room for improvements? Absolutely and it seems the C300 has hit most of these improvements yet maintained the basic form-factor of a well built DSLR but the price...

Now I'm just speaking about the physical layout of the cameras not the image quality, menu customization, etc. but I find the image quality of my 5D to be amazing and worth the trade-offs of some of the "camcorder" functions…I can live without or work around no built ND's, waveforms, headphone jack, etc, etc, etc. but I cannot live without the smooth highlight rolloff, what seems like more DR than the numbers dictate, shallow DOF when I need/want it (stop down when I don't want it) all for a sub $4k shooting package.

DSLR's can only get better and prices should stay in the ballpark their at now (sub $5k) however I doubt we will see many of the traditional video-cam like functions built into these "stills" cameras but thats fine by me so long as the image quality keeps getting better, I can work-around these limitations.

I can understand why some people feel that a DSLR doesn't fit their needs or workflow but to anyone who dismisses these cameras entirely for all practical purposes is just being completely close-minded IMHO.
 
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Mickey G said:
To me a DSLR is akin to a good video game controller, small, light-weight and all neccasary controls are at my fingertips.
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While, yes, all controls are at your fingertips, some of the controls require you to break framing, remove your left hand from the lens barrel, or induce considerable shake to operate certain features. While others may even require you to stop recording.

But yes, I agree with you on the form factor. The DSLR is pretty ideal as far as putting controls at the finger tips. The 60D is pretty good, and I prefer it over all the other DSLR's, as far as ergonomics go.

I would change somethings about the dslr form though. The DSLR is ideal for hand held, but falls a bit short once should mounted or put on a tripod, imho.
 
I hope we don't see some paper launch on the 27 like the 1dx. A camera that is suppose to launch next month and that we have barely seen any photo and noon video at least not at VHS resolution, more than 3 month after its launch. I hope that I am wrong because it would give us a good idea of what to expect from the new line of Canon camera at least in video. Until now the Nikon video did not impress me at all apart from the rolling shutter. I will get the d800 for my photography job, at least I have the super hacked gh2 for video if the Nikon is not that good. But a high resolution moire/aliasing free Canon with some intra bitrate, would be very interesting at least at the 7d/TI level (costwise for a Nikon shooter), that is why I want to see this 5dmark 3.
 
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