C300: C300 MKII projects?

[dp90068]

Fabulous reel, John. Break a leg.

 

[Plexi Head]

I'm actually still a bit irked by Canon's marketing of "15-stops" of DR with the C300 Mk2, and then it was shown repeatedly that others were unable to duplicate their numbers even under the most optimistic counting. Then Canon made a statement to someone/somewhere (can't recall who) than Canon was counting in a way that was basically meaningless to their customers.

https://www.youtube.com/watch?v=x0-qoXOCOow

'Someone, somewhere, can't recall' - c'mon Illya, really?

If there are repeated findings from 'others' supporting Cinema 5D's C300MKII DR tests then it should be easy for you to find them and then post the links here. I look forward to reading. I find it astounding that a couple of guys with questionable testing methods that run a website are deemed more reliable than respected technicians who after thorough testing find Canon's claims to be proven. A marketing department presents actual, true details about a new camera and you get butt hurt about it? I would be more concerned about misinformation being presented as gospel by individuals that should know better. Agenda and bias immediately spring to my mind.

 

[seanarmada]

In reference to filters and bloomy highlights. Here are a series of images with the canon Compact Cinema Zooms paired with various strengths of black promist or HBM.
View attachment 116774View attachment 116775View attachment 116776View attachment 116782


Here's a good examples: First two images, 1/4 black promist shot in Log2/Production camera.
View attachment 116777View attachment 116781

These below, nearly same setup, but shot WIDE DR without filtration.
View attachment 116783View attachment 116786View attachment 116785

Here are some images with a much cheaper lens (24mm pancake)and no filtration:
View attachment 116778View attachment 116779View attachment 116780

Really outstanding stuff John, thanks again for sharing. IMO those images begin to feel really cinematic with the pro-mist added, very excited to pick up a C300 now!

 

[Illya Friedman]

Specs are rather irrelevant if the image itself isn't as good.

No argument from me. It would be better if people trusted their eyes.

Maybe specs show the Varicam having more color information than the Alexa, but I still find the Alexa's colors a good step better than the Varicam. And the F65 looks better than the Varicam to my eye as well.

In the ARRI color processing architecture, the basic system tonal response comes from a sigmoidal curve influenced by camera 'black gamma', 'gamma' and 'knee' controls. This is where their magic comes from. They've been rolling off highlights nicer (and longer contiuously) than anyone in the super35 digital cinema camera market, they also provide proper transform matrices to 709 and P3. Colorist are also more used to what Arri is doing as their Log C dates all the way back to the D21 days (2009) and that hasn't changed with any of the Alexa cameras. I'm not convinced they have more colors, I've never seen them publish a horseshoe, but Arri certainly knows how to work with the colors they've got- ultimately I'd argue that's more important for a pleasing image.

Varicam has a pretty comparable image to the C300 Mark II to my eye, perhaps slightly better, but I prefer the C300 Mark II's feature set, work-ability, and ergonomics better than the Varicam LT.

We disagree here. Ergonomically the LT is a home run, work-ability is directly related and it's a breeze to use. The LT has more frame rates including 60FPS 4K, it's not a porcupine with buttons, has a real EVF, user changeable PL/EF, I can go on but I think you get the point.

Amira is also a way better camera than the Varicam LT (perhaps aside from low light), of course at a much higher price.

This depends on what it is that you are doing. I love the Amira, but the Amira is also larger, more expensive, and can't be used for Netflix produced original series so it is by no means a one-size fits all.

In my limited (judging by the viewfinder and LCD image) testing of the Varicam at B&H Photo, I found 5000 ISO to be pretty noisy, perhaps worse than the C300 Mark II's 5000 ISO. It's kind of a gimmick how they market 5000 ISO to be about as clean as 800 ISO when it's actually a lot noisier. Sure, you can add noise reduction, but that doesn't change how much noisier it is to start with, and a lot of quick turn around productions don't have time to add noise reduction in post.

Haven't seen what you saw in any of the V35 or LT stuff I've shot. At 5000 it's beautiful, quieter than any camera at that ISO, and I believe I've seen them all. I've rated the V35 up at 30,000 ISO and was ending up with noise pattern similar to other cameras shooting at 2000 ISO.

I'd also say that one of the biggest issues with the Varicam LT at least for now, from an owner/op standpoint, is that it's not a proven and popular camera, so it'd likely be a more difficult sell to producers as an owner/op. Of course if you're producing your own content, then this aspect wouldn't matter nearly as much.

One thing you missed is that LT is also an easier sale to bigger budget broadcast/cable/streaming production standpoint, far more than the C300 Mark 2. There's more Varicams in the high-end professional rental market than the C300 Mark 2, with something like 14 series now calling it their A-camera. I believe Panavision owns well over 30x V35 cameras alone. There may very well be more C300 Mark 2 at lower end rental facilities and the ShareGrid services, but these are not the same folk generally providing the primary camera package to major productions.

The C300 Mark II, on the other hand, is the step up from the very proven and popular camera, the C300 Mark I. Arri Amira is the step down from the very popular Arri Alexa. FS7 is a step up from the FS700, and step down from the F5/F55, both popular cameras. Varicam LT is the new kid on the block, a step down from the also pretty new and never popular Varicam 35. That makes it a tougher sell as it has no popular camera from which it is following up.

I'm going to disagree with this thoery. I believe that cameras find their own strata and would argue that a camera will find a home where they are meant to, rather than because they are a step above or below another product.

I've been involved with the launch of 8-different cameras systems and I can tell you with some authority that it take about a year for a brand new camera format to penetrate the market at the high end. Varicams are higher-end cameras and the rental rates reflect that. It's really unfair to say that the Varicam was "never" popular when the V35 is still quite young and already has far more A-camera broadcast shows using it than Canon does with the Mark 2.

Producers are often a good 2-4 years behind the current tech, so often aren't familiar with newer cameras, hence why some producers still ask for 5D's even though there are now better cameras than the 5D at a similar price point. Thus, when a new camera is a followup to an older camera, such as a producer who likes the C300 Mark I, as many have, then having a C300 Mark II will generally make those producers happy, as well as other producers who are more up-to-date on current tech.

No argument on this, you are spot on. Probably the most compelling argument to purchase a Mark 2.

Was it shown repeatedly? All I remember was one source (Cinema5D) stating a lower dynamic range than advertised, everybody made a big hullabaloo about that one source, which in my opinion and many others' opinions had very flawed methods for testing, while several other reputable sources (such as Geoff Boyle, Alan Roberts, and Philip Bloom) agreed it was pretty much as advertised, at 15 stops.

It was. Don't get me started on the poor technical ability from Cinema 5D, they mean well but it is foolish to believe that the A7s has 15.5 stops of DR (or whatever ludicrous number it was that they published.) I know Geoff and I recall he said it was a full stop less. He also said it was acceptable, but that's not the same as meeting the manufacturers spec. Bloom is an artist and not a plumber. If you go back over his on-line career there so many factual inaccuracies in the stuff he shares no one has time or patience to refute them all.

thinking the camera was overpriced and them being annoyed they couldn't afford it, so they were overly eager to accept the idea that the camera they wanted but couldn't afford was not as great as advertised.

You know I think this sort of thing goes on all the time. It's been proven that there are many folks who personally associate themselves with the brands they purchase and treat criticism of the brand as a personal attack.

I also think that there are others who feel like they are being told they are somehow "less than" because they are working with lower end equipment, or just starting out in the business. This insecurity has always puzzled me. I see it somewhat more often in millennials, but really I think it's not so much generational as it is that the person offended sees themself as an professional imposter and they are worried about being exposed. These people pretend to be professionals and their ego takes a brusing when actual professional filmmakers and camera folk have a contrary (and a generally correct) point of view based on experience. Camera people and filmmakers get a bad rap from people who have never worked in the industry, but in my experience they are some of the nicest, kindest, most humble people you'll ever meet. I think that why even today the idea of mentorship hasn't gone away in the camera crafts and that for those who are "doing it right" there are always people further up the skyscraper sending the elevator back down to help out.

 

[Plexi Head]

Originally Posted by Eric Coughlin
"Was it shown repeatedly? All I remember was one source (Cinema5D) stating a lower dynamic range than advertised, everybody made a big hullabaloo about that one source, which in my opinion and many others' opinions had very flawed methods for testing, while several other reputable sources (such as Geoff Boyle, Alan Roberts, and Philip Bloom) agreed it was pretty much as advertised, at 15 stops".

It was.

Links please!

 

[Eric Coughlin]

We disagree here. Ergonomically the LT is a home run, work-ability is directly related and it's a breeze to use. The LT has more frame rates including 60FPS 4K, it's not a porcupine with buttons, has a real EVF, user changeable PL/EF, I can go on but I think you get the point.

I said I prefer the ergonomics of the C300 Mark II. You can't really disagree with what I personally prefer.

The Varicam LT does not work on a Glidecam HD4000 as it is too heavy; the C300 Mark II does. The Glidecam is much quicker to setup than my Steadicam Zephyr which can support a Varicam LT, hence the Glidecam is often more suitable for use on doc and run n gun shoots when I don't have time and space to setup the Zephyr.

The Varicam LT does not have a proper LCD screen, so an additional external monitor would likely be required for the way I shoot. I easily shoot most of my work now with the C300 Mark II's LCD screen which is pretty nice and good enough for my needs. An external monitor means more cables to connect, batteries to change, weight, etc.

The control module on the Varicam LT is a joke. I hate it. From what I gathered it can't even be well secured (without gaff tape) for Steadicam use, which means more shakes to the camera if it's not well secured. The lack of buttons on the camera means changing settings takes longer than the many buttons on the C300 Mark II, forcing you to use that ill-placed and out of reach control module to change basic settings. I think the Varicam LT has like, 8 buttons on the camera, while the C300 Mark II has around 30.

The Varicam LT is not ergonomic for monopod use. I often prefer the more stable look of monopod shots over shoulder mounted shots; you can also get higher with a monopod with a better range of heights than with shoulder mounted. The side handle and short size of the C300 makes it great for use on a monopod since you can hold it by the handle. The handle on the Varicam LT cannot be attached to the side of the camera (like on the Ursa Mini) and the longer depth of the camera makes it difficult to use on a monopod.

The Varicam LT's viewfinder does not position far from the body of the camera, which can make for difficult placement of fitting your eye inbetween the camera and the viewfinder.

On a slider, I often control the camera's movement by the side handle instead of the pan handle on the head (which I often don't even have attached to the head). Like the monopod, the C300 Mark II is much better suited for my (quick) slider setup than the Varicam LT. Aside from having good control of the camera by holding it by the side handle, it also enables me to control iris, record, and auto-focus at the tip of my fingers, which you can't do with the Varicam mounted on a slider or monopod.

Varicam LT is marketed as a documentary camera. I find the C300 Mark II ergonomics much better for doc work. I own a Zacuto shoulder mount; I rarely use it. I don't like the look of shoulder mounted shots for a lot of the way I shoot. A lot of doc shooters like shoulder mounted, and live by it. Those people are often the ones who say the C300 has bad ergonomics. Since I don't do much shoulder mounted work, I don't fall into that camp, and I like the C300 ergonomics. I actually like the C100 Mark II ergonomics even more.

Even so, on the shoulder, the Varicam LT didn't feel great. The balance just wasn't quite there. The Amira was much better balanced.

This depends on what it is that you are doing. I love the Amira, but the Amira is also larger, more expensive, and can't be used for Netflix produced original series so it is by no means a one-size fits all.

Netflix is a pretty small percentage of TV productions. 14 series using the Varicam as their A-camera, out of...what, 400 broadcast TV shows made per year, and I guess thousands of non-broadcast shows made each year. Alexa and Amira still rule the roost.

One thing you missed is that LT is also an easier sale to bigger budget broadcast/cable/streaming production standpoint, far more than the C300 Mark 2. There's more Varicams in the high-end professional rental market than the C300 Mark 2, with something like 14 series now calling it their A-camera. I believe Panavision owns well over 30x V35 cameras alone. There may very well be more C300 Mark 2 at lower end rental facilities and the ShareGrid services, but these are not the same folk generally providing the primary camera package to major productions.

Well that's not my market. My market is doc, corporate, event, and lower budget narrative and commercial. The higher end market is a smaller niche, the mid-range and lower end market has more work, more rent-ability, etc. Often at the top end they rent the best that is available, which often doesn't coincide with what an own/op owns, so they get it from an rental agency instead. Look at Charles Pappert on DVXuser, doing high end work, but he doesn't own a high end camera. One shoot he's using an Alexa, the next a Varicam, and so on and so forth. Owning makes less sense in the high end. In the mid-range and lower end they're more willing to go with the camera package that you happen to have, even if it's not the best there is for the shoot, because they'll save money by going with your package and saving a little money on gear rental is more important when the budget is smaller. So to say the Varicam LT is successful in the high end but not as successful in the mid-range and lower end, is not assuring for an owner/op looking for the next camera to purchase. It may be assuring if you're a rental agency.

That's where the C300 Mark II and FS7 shine, as they're mid-range cameras that can do low end work, mid-range work, and sometimes stretched to do high end work, making them versatile cameras for owner/ops. I can use a C300 Mark II on a decent budgeted commercial one day, a narrative film the next day, and a wedding the next day. Try using five Varicam LT's for a wedding with two camera operators and let me know how that goes. I can easily use five C-series cameras at a wedding since they are smaller and lighter.

I'm going to disagree with this thoery. I believe that cameras find their own strata and would argue that a camera will find a home where they are meant to, rather than because they are a step above or below another product.

I've been involved with the launch of 8-different cameras systems and I can tell you with some authority that it take about a year for a brand new camera format to penetrate the market at the high end. Varicams are higher-end cameras and the rental rates reflect that. It's really unfair to say that the Varicam was "never" popular when the V35 is still quite young and already has far more A-camera broadcast shows using it than Canon does with the Mark 2.

Sure, a camera with no past camera to build on can become popular. Every camera system has to start somewhere. I was just saying that without a past it would probably take more to build up in popularity. More time to prove itself. And more of a risk for early adopters.

The Varicam 35 started shipping on October 15, 2014, almost two years ago. Two years later, and I don't see hardly anyone who owns or uses them. I see lots or Red users, Alexa, Amira, C300 Mark II, FS7, Ursa Mini...but Varicam 35, well, I've maybe heard of three people using them. Three people meaning, few enough that I can actually count it. It was priced to compete with Alexa and at that price most stuck with the Alexa. I'd say the camera failed to sell, and thus why they released the Varicam LT at a much lower price point, which can do most of what the Varicam 35 could do. Because the Varicam 35 failed to sell well.

You know I think this sort of thing goes on all the time. It's been proven that there are many folks who personally associate themselves with the brands they purchase and treat criticism of the brand as a personal attack.

I also think that there are others who feel like they are being told they are somehow "less than" because they are working with lower end equipment, or just starting out in the business. This insecurity has always puzzled me. I see it somewhat more often in millennials, but really I think it's not so much generational as it is that the person offended sees themself as an professional imposter and they are worried about being exposed. These people pretend to be professionals and their ego takes a brusing when actual professional filmmakers and camera folk have a contrary (and a generally correct) point of view based on experience. Camera people and filmmakers get a bad rap from people who have never worked in the industry, but in my experience they are some of the nicest, kindest, most humble people you'll ever meet. I think that why even today the idea of mentorship hasn't gone away in the camera crafts and that for those who are "doing it right" there are always people further up the skyscraper sending the elevator back down to help out.

Hey, I'm all for the Arri Amira which I do not own but am a fan of. The Varicam LT, I was more of a fan of until I got my hands on it in person. Then I decided I didn't like it for many different reasons. I did a topic on the Varicam here: http://www.dvxuser.com/V6/showthread.php?347533-Varicam-LT-First-Impressions

Just because I'm putting down the Varicam LT in comparison to the C300 Mark II doesn't mean I think the C300 Mark II is the best camera for everything. For doc and run n gun work, I find the C300 Mark II to be better (at least for the way I work) than the Varicam LT. For commercial and narrative work, I find the Amira to be better than the Varicam LT. Which for me, leaves the Varicam LT in the small niche of either low light commercial and narrative work, or lower budget narrative and commercial work that couldn't afford an Amira or Alexa.

A professional is defined as, "a person) engaged in a specified activity as one's main paid occupation rather than as a pastime." Doesn't matter if you're high end or low end, talented or not; you're a professional if you make your living doing it, as per definition. Because I work primarily in the lower end and mid-range markets doesn't make my opinion on mid-range to high end cameras invalid. The C300 Mark II is not marketed as a high end camera. It has its market it serves. If you want to shoot a 100 million dollar budget movie, it's probably not the right camera for the job. But it's the right camera for my kind of work, and the Varicam LT is not. If I was upgrading, I'd either get an Amira or C700. Varicam LT is too small of an "upgrade" from a C300 Mark II, and for the way I work, has too many disadvantages.

 

[Illya Friedman]

Eric, it's safe to say that you and I are not going to see eye to eye on cameras.

I said I prefer the ergonomics of the C300 Mark II. You can't really disagree with what I personally prefer.

Actually you can. My preference is different than yours, it's a simple as that. That's is how you disagree.

The Varicam LT does not have a proper LCD screen

It does, it is built in to the control panel. I have a client who shot an entire feature with that LCD screen.

The control module on the Varicam LT is a joke. I hate it. From what I gathered it can't even be well secured (without gaff tape) for Steadicam use

Steadicam operators do not operate from on board LCDs as a rule. Also you must not have looked at the control panel very carefully. It can be mount in multiple places and has a standard 1/4-20 thread on the back meaning it can actually be secured anywhere you have a Ultralite, Noga or similar tool.

I often prefer the more stable look of monopod shots over shoulder mounted shots

I often find this to be the case among the wedding and event shooters, I seldom find a narrative shooter who prefers the monopod look.

The Varicam LT's viewfinder does not position far from the body of the camera, which can make for difficult placement of fitting your eye inbetween the camera and the viewfinder.

For 99% of people the adjustments as-is is better than fine, a total non-issue and if it isn't for you, easily solvable. A real professional (and universal to boot) EVF is a million times better than a tiny eyecup EVF fixed in one position at the rear of a camera, assuming you do shoulder mounted narrative production. If you are shooting high school graduations, than it doesn't matter.

Even so, on the shoulder, the Varicam LT didn't feel great. The balance just wasn't quite there. The Amira was much better balanced.

The ergonomics of the Amira are also first rate. The Amira also clocks in about 3-lbs heavier than the LT. Generally more weight is harder to balance and you seem pretty dismissive of the LT so I'm uncertain how hard you worked to get the LT to feel correct. It does have a pretty amazing adjustment built in, if you didn't try that then you wouldn't get the correct feel on your shoulder.

Netflix is a pretty small percentage of TV productions.

In this regard you are wrong. Netflix is spending $6B this year. That's the equivalent of the economic impact of all the production that is going on in the state of Georgia in 2015.

Look at Charles Pappert on DVXuser, doing high end work, but he doesn't own a high end camera. One shoot he's using an Alexa, the next a Varicam, and so on and so forth. Owning makes less sense in the high end.

Charles Papert (one P) is a friend. He's also the featured guest on the most recent episode of my podcast on iTunes. That being said, he has owned a lot of expensive gear in the past, and I don't believe he would never own a camera. We have talked about this. I would expect that if he were given the opportunity to rent equipment to his own productions to make some additional income, he would go for it.

I'd say the camera failed to sell, and thus why they released the Varicam LT at a much lower price point, which can do most of what the Varicam 35 could do. Because the Varicam 35 failed to sell well.

I've consulted for many camera manufacturers including Panasonic. I'm going to disagree with your assesment of the reason for the existance of LT. Now I don't pretend to know all the reasons the LT exists, but I believe that the real reason was to be a complementary product to the V35. Just as the Alexa Mini complements and doesn't replace the Alexa XT. The Alexa Mini was not born because the Alexa (actually the best selling camera in the 100-year history of ARRI) failed to move.

We sell more LT's than C300 Mark II cameras, it could be that we are dealing with a clientele that has significantly different criteria then you do. I will say most are not attempting to use their LT on a monopod, a glidecam or working as a 1-man band.

Well that's not my market. My market is doc, corporate, event, and lower budget narrative and commercial.

I get it. It's great you decided to buy what works for you.

Because I work primarily in the lower end and mid-range markets doesn't make my opinion on mid-range to high end cameras invalid.

It doesn't, and no one is saying that.

The issue is that if you decide to speak outside of your experience by telling the people who do work on higher-end projects that you know what's best for them, you could run the risk of looking foolish.

The C300 Mark II is not marketed as a high end camera.

The first thing Canon says is that the C300 Mark II is for "Cinema," not the last. So I don't buy this argument at all.

I'd either get an Amira or C700.

Both of which are wildly inappropriate for the one-man-band monopod and glidecam strapping style you favor. I would actually suggest you look smaller for your next camera, it may add additional flexibility you don't have currently with the C300. In the past year I've probably shot more GH4, A7rII, LX100, A6300 and RX10 Mk2 than the either the Canon C300 Mk2 or the LT/V35. None of those larger cameras could fit in the places of the small cameras and I would have been foolish to try to force a big camera to do what a really small camera can do without effort. Every camera has their place, and their projects.

Glad you are happy with your C300 Mark II, and happy you are happy using it for the work it should be doing. Canon says that "C" in the entire line of cameras stands for "Cinema." This would mean people sitting in a dark room watching on a big screen. I would add that there are a good number of people looking at the C300 Mark II because of it's price at it's marketing efforts to "Cinema" in addition to all the other jobs it can do, and when scrutinized as a tool to be used primarily for cinema, our clients and the higher-end professional market have preferred LT. We'll see how the C700 does in the market. I'm looking forward to the launch.

 

[indiawilds]

Haven't seen what you saw in any of the V35 or LT stuff I've shot. At 5000 it's beautiful, quieter than any camera at that ISO, and I believe I've seen them all. I've rated the V35 up at 30,000 ISO and was ending up with noise pattern similar to other cameras shooting at 2000 ISO.

Where can we see it? 30,000 ISO as good as 2000 ISO? And the comparison is with which camera?

Panasonic had released the terrible gorilla footage to market the LT as a documentary camera. Now are you saying that LT is primarily a cinema camera but Panasonic didn't knew and was pitching it for documentary use? When LT was launched, I was excited looking at the "specs" and then it subsided after looking at the footage. I was impressed with the Varicam 35 launch film.

 

[bill totolo]

Where do they differ the most, with respect to image, in your opinion?

Now that the embargo is lifted I can share this shot from our Amira. Sorry I don't have a side by side with the Canon to compare.
There's a lot of dynamic range in the explosion, and note the detail in the vapor from the combustion of the gas bomb. Very impressed overall.

https://vimeo.com/174626728

 

[SiSS]

Then Canon made a statement to someone/somewhere (can't recall who) than Canon was counting in a way that was basically meaningless to their customers.

Illya Friedman, Hot Rod Cameras, a Panasonic seller.
You have been exposed already, would you go away from Canon forum, please.

I can't even read you're latest messages anymore, you are getting embarrassing.
The biggest hacks, they end up selling the gear?

Embarrassing, not only for you and your company, but you are making bad name for Panasonic users also.


Plenty of meaningful DR on C300 mk II:

 

[seanarmada]

Now that the embargo is lifted I can share this shot from our Amira. Sorry I don't have a side by side with the Canon to compare.
There's a lot of dynamic range in the explosion, and note the detail in the vapor from the combustion of the gas bomb. Very impressed overall.

https://vimeo.com/174626728

WOW. That is pretty impressive, the slow-mo really brings that to life. That must have been a fun shoot too

No doubt the C300 mkII isn't competing with that kind of image, although if you have any kind of comparisons that would be nice to see.

 

[Illya Friedman]

Illya Friedman, Hot Rod Cameras, a Panasonic seller.
You have been exposed already, would you go away from Canon forum, please.

So what?

I have every right to post and have contributed to DVXUser for years as one of the the more technical members. It appears you use an alias, and have 25 posts.

I can't even read you're latest messages anymore, you are getting embarrassing.

If you didn't read my last post, then you don't know what I wrote?

And as such, seems you can only form a response by name calling, without adding anything thoughtful or meaningful to the conversation?

The biggest hacks, they end up selling the gear?

You are calling me a hack? I admit to hacking cameras, I invented the PL mount for the DSLR and a number of other products including the first professional PL mod for Canon cameras. I also built a company unlike any other in the world. Prior to that, I have hundreds of professional credits working in the camera department and was a proud member of the ICG local#600. Please list me some accomplishments so I know who I'm addressing, and of course first start with your real name.

Embarrassing, not only for you and your company, but you are making bad name for Panasonic users also.

You should read what I wrote, especially about the part about people being personally offended when the brand (or product) they purchase is criticized.

Perhaps then you will have better understanding of what is actually "embarrassing."

 

[jm.gardiner]

I can't even read you're latest messages anymore, you are getting embarrassing.
The biggest hacks, they end up selling the gear?

Siss, please don't drag this forum down into the mud by name calling and harrassing people. This isn't a private club and it only benefits from people with different views or opinions.

Ilyia, and his company, are a respected member of the industry here in LA.