Canon 7D killed my scarlet dreams!

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greymog said:
REDCODE is compressed. I remember expecting 400 GB or something after my first shoot, turned out to be 30 GB only. I was a bit scared even.

REDcode is RED's contribution.
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To put things in perspective, how long was your recording?

To me, the Gh1/5D/7D are the perfect camera to own. Learn with it, bring it everywhere, shoot, practice, practice your composition, and heck, get paid to shoot some projects (depending on the budget).

RED is the perfect camera to rent for that higher-end project.

For me anyway ;-)
 
xbourque said:
So... what's your plan when someone walks in front of the window? Roto?

What about for when half the face of your character is lit by the window and the other half by tungsten lights? What white balance do you use then?

Sounds to me like you're gonna explode your post budget cuz you're too lazy to gel a window with NDs.

-X
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All valid points

All im saying is that RAW is more flexible and that cant be a bad thing

Also - you can gel window when shooting 'cinema' (if you have the time/budget) but some, shooting is about recording, reality, events etc not staged scenes etc

If you watch the David Mullen thread on RedUser he is always suggesting huge lighting rigs and Im thinking, yeah at 320ASA you need that rig but at 1250 with the 5d you wouldnt

it seems like there are two cultures

I have the same shoting stills, people seem to boast about thier lighting rigs - to me they just seem to snuff out speed, flexibility and sponteneity

I have been there with my 25ISO Hassy and walls of softboxes, Im much more happy with my D3 and a bit of intelligent post

S
 
What a hoot!

What a hoot!

This thread reads like a game of one-upmanship to see whose quote will be the best and last.

smileypopcorn2.gif
 
TheRealMe said:
To put things in perspective, how long was your recording?

To me, the Gh1/5D/7D are the perfect camera to own. Learn with it, bring it everywhere, shoot, practice, practice your composition, and heck, get paid to shoot some projects (depending on the budget).

RED is the perfect camera to rent for that higher-end project.

For me anyway ;-)
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I'm personally with you on this, this was the first time i worked with RED, I really had no idea how long things would turn out, we had about 40 min if i remember right of footage, 30 gigs. I expected more. Just me though.

I prefer the DSLR's to RED. They put the form factor into question, and I think of big rig cameras like the RED as something that has only pushed horsepower throughout the years. I'll get flamed for this, but its like a ferrari to a steam engine.

All cameras are still big boxes, These DSLR's are more like part of your arm.

No one's accounted for size, except maybe ikonoskop, and these cameras. I find most independent, mature filmmakers are not as concerned with spatial resolution, they care more about their colors and framerates, still they're ok with features that are available. They always wish gear was smaller, or easily movable and mountable, all this stuff that goes on in the field has remained the same-ish.

I have always preferred a VDSLR. I like where its going, and that's it's so new, and that the form factor is deemed 'wrong'. We're in the process of thinking techniques up for handling these things. Rules could change, whether we want them to or not.

It was the technological limit of times before that created or at least contributed heavily to creating the rules regarding shooting.

I had a D90, and it was like film more than anything else in the fact that I HAD to expose correctly on camera in order to get a usable image. I don't mind the workarounds at all, never have. Sold it for a GH1. After the 7D came out.

Indeed, cameras are pencils.

Cheers, lovely sunday for a ramble.

Disclaimer: This is an opinion, I'm not bashing RED, and not saying features aren't important. Just saying that VDSLR's are more of a breakthrough simply because they scrutinize (whether on purpose or not) the form factor in shooting a moving picture.

T
 
morgan_moore said:
If you watch the David Mullen thread on RedUser he is always suggesting huge lighting rigs and Im thinking, yeah at 320ASA you need that rig but at 1250 with the 5d you wouldnt
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i'm sure you know this but big budget productions don't typically use more powerful lights because they shoot at lower iso's but because they want to put the lights further away. this makes it easier to avoid shadows, it often looks more natural, it's more easy to control, it gives you more space, and so on. moving a light just twice as far away already eats up the two stops you were ahead.
 
morgan_moore said:
Also - you can gel window when shooting 'cinema' (if you have the time/budget) but some, shooting is about recording, reality, events etc not staged scenes etc
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I understand what you are getting at, I just think you might be dissapointed by "raw" for moving pictures when you actually use it.

It's going to save some shots that are slightly over or underexposed, or shot with the wrong white balance by mistake in camera (but then again, these things have colour LCDs, you'd have to be blind not to see it while shooting). It will definitely hold up a lot better in grading.

But it won't save you if you have mixed colour temperature lighting.

No matter how run and gun, your lights should be balanced to daylight if you have that window in the shot!

Also, doing masks and paint strokes is nice and fun on a still frame, it gets tedious and painful when you have to do it on 20 mins of footage.

Don't get me wrong, I'd rather use Raw than H264 if given the option at comparable prices, but I don't think Raw is the "cure all" that some people make it out to be.

-X
 
I mentioned this before on a different thread has anyone used the Canon EOS for filming? I still would like to see a short film shot with the 5D. I did look on youtube but didn't find anything except test shots which a lot of it looks pretty bad. But then we have to say it is youtube link that isn't helpping the look that you are trying to show. Are there any films on the DVX Fest that was shot on the 5D and if not this might and I say might be fun to do a DVX Fest using only the 5D/7D Just food for thought?

I did find this link on youtube that was pretty interesting and I'm sure most of you if not all of you have seen it: http://www.youtube.com/watch?v=NfUUySn3y7w
 
xbourque said:
Don't get me wrong, I'd rather use Raw than H264 if given the option at comparable prices, but I don't think Raw is the "cure all" that some people make it out to be.

-X
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We basically agree. Im still in favour of being able to make decisions on my Eizo in a dim lit office rather than on 2inch screen, at 480p, or on a steadicam pilot monitor on a sunny day,
 
Corine said:
I mentioned this before on a different thread has anyone used the Canon EOS for filming? I still would like to see a short film shot with the 5D. I did look on youtube but didn't find anything except test shots which a lot of it looks pretty bad. But then we have to say it is youtube link that isn't helpping the look that you are trying to show. Are there any films on the DVX Fest that was shot on the 5D and if not this might and I say might be fun to do a DVX Fest using only the 5D/7D Just food for thought?

I did find this link on youtube that was pretty interesting and I'm sure most of you if not all of you have seen it: http://www.youtube.com/watch?v=NfUUySn3y7w
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This is a pretty cool channel on vimeo for 5Dii narrative stuff. Not all of it's good but there's a couple of gems in there.
http://vimeo.com/channels/47418

This on in perticular has some nice compositions
http://vimeo.com/5410762
 
mattsand said:
raw doesn't necessarily mean uncompressed, just that it's not converted from luminosity data to your color space of choice. you can compress raw files too, and you can actually compress them more than rgb or yuv files without degrading the quality. redcode and cineform already do, it's likely that more will follow like apple prores and adobe dng.
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thanks all, for the heads up on RAW and REDCODE.

Will be very interesting to see what Nikon, and likely others, have up there
sleeve for newer forms of { lossless } compression.
 
sunburst said:
thanks all, for the heads up on RAW and REDCODE.

Will be very interesting to see what Nikon, and likely others, have up there
sleeve for newer forms of { lossless } compression.
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Long time Nikon user here. Don't look to Nikon for newer forms of lossless codecs that will also deliver a fully functional Video capability. Read my post in Cinema5D.
 
Rodney Charter's 7D. This must be for his Face Book page video blog. He surely couldn't be using it in a professional capacity. From Philip Blooms Blog:
http://philipbloom.co.uk/2009/09/01/7d-with-a-big-cinema-lens-on-it/

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This might be enough to crush someone's Scarlet dreams. Panavision made custom supports for the 7D to attach it to these lenses. Amazing, the time and trouble to go through to get these lenses to work with a $1,700 DSLR.
 
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Is it confirmed that Panavision made the mount? I have reason to believe otherwise, but was just curious...

Everyone, including myself, laughed when Rodney Charters showed up to the ASC/PGA camera test earlier this year with the 5D... now I respect him for utilizaing its potential / ignoring the critics.
 
Wow, a "panavised" 7D... A Pana7D.

That means you can go out and rent panavision anamorphics for your 7D... Droool.
 
lets figure out how to get a PL on this thing already.... even if that mean cutting out its guts.

I'll buy 2..... one for PL one for Everythign else...
 
f64manray said:
Just how much better than superb do you think Scarlet will be. Since you made a prediction, permit me to as well. I've seen the Izzy video. Put the same Iguana in front of the 5DII and see if you can tell a difference.

I predict the image quality between the DSLRs (5D & 7D) and the Scarlet which will be well in excess of $6,000 dollars in S35 will be so close that VDSLRs will actually increase in sales as people sitting on the fence waiting for Scarlet after seeing side by side comparisons won't be able to justify the extra expense.
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I'm sorry, but I can't believe that no one has said this sooner -- are you honestly suggesting that there won't be a noticeable difference between the 5/7D, at 1080p with line-skipping, and the S35 Scarlet at 5k?? I mean, I don't claim to be an expert on this -- I don't own any of these cameras yet (obviously nobody owns a Scarlet yet); I'm just a guy who's been following all this, and looking at sample footage, etc. But how would it even be possible for the S35 Scarlet, shooting at 5k, to not achieve vastly superior image quality than the 5/7D? I mean, what am I missing here?

Forgive me, but it just sounds like you're a RED hater who's lost all perspective on this matter. Looking at things objectively, it seems as if there's no reason to believe that even the 2/3 Fixed Lens Scarlet, shooting at 3k, won't beat the 5/7D by a significant margin in terms of image quality. Again, how could it not? If the new Mysterium-X sensor is anywhere near as good as they claim (do you have reason to believe it isn't?), the Scarlet's 3k would have to blow away 1080p with line-skipping. That would be the only possible result, unless RED was exceedingly incompetent on a technical level... and does that really seem likely?
 
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