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Wow. Im not attacking you and here you are taking my constructive criticism like a *****.For all the facts I got wrong (yes, I am human) there are 10 I got right, and another 10 opinions which you misread as fact due to English not being your first language. How about you start reading my blog like the filmmaker's informed opinion it is meant to be... Your grudge is personal and pointless. If you don't like my opinions, you are welcome to read ones elsewhere you do agree with. You have an axe to grind don't you?
nuff saidI just tried shooting DCloud's comments on a Blackmagic Cinema Camera and it still looks like ugly biased bulls*%t.
Should I send it back and get a Red One?
Let's have a look at some of dcloud's 'constructive critisism' from the last few weeks...
"Dont spew out s*%t..."
"I dont like andrew"
"Nah. Andrew reid is worst. Fake news, sensationalism, attention whore."
"Eoshd? Meh."
"Not eoshd again."
"I really hate EOSHD. andrew reid is a real prick"
If this is constructive then a demolition derby is a bodywork repair shop.
If only Canon shooters hated moire this much they could have all swapped to the GH2
The evidence is mounting that the GH3 video uses line skipping, which inevitably results in moire and a significant loss of measured resolution. That's not something that can be fixed in firmware, by adding a stronger OLPF, or by providing a super-high bitrate codec. It's the sad consequence of marketing-style decision making. They took the one feature that made the GH1 and GH2 a success, and removed it from the GH3 so they could compete against the OM-D in stills (similar sensor) and in video (better codec). But by making the GH3 more similar to the OM-D, they lost the one market advantage that the GH1/2 had versus all other still cameras, including those with larger sensors. Now someone looking for the best stills will pick a camera with a larger sensor (APS-C or full frame). Someone looking for good stills in a small form factor will pick the OM-D for the 5-axis IBIS or the RX100 for best sensor/size ratio. Someone looking for the best video will pick a camcorder. And someone looking for a stills camera with the best video will be presented with a list of very similar choices and no clear winner.
Anybody is going to base their purchase on a badly shot couple of takes? Come on guys you are way smarter than that. Look at the difference between Phlip Blooms piece, shot and edited by real pros, and those takes from EOSHD obviously shot with a camera a photo show. Please, please, please you should know the difference of who to pay attention to by now.
I just tried shooting DCloud's comments on a Blackmagic Cinema Camera and it still looks like ugly biased bulls*%t.
Should I send it back and get a Red One?
View attachment 62191
Wow! Awesome post. As though I had written it myself
Further, One test I studied makes the OMD still look WAY better resolution, scale and color-wise than the GH3.
I was turned down for the Panasonic Position (Professional Market Division) and frankly, I have no regrets.
I have a feeling that Panasonic is dropping one ball after another in a very tight race to breakthrough the Barrier between Pro-sumer and diminutive pro outfit.
Who knows who will come up with the mythical small form-factor camera with all the goodies we want at below $15K.
None of the players seems to have covered every requirement.
At the same time, I think everyone would have to admit that Phil Blooms short fim was thrilling to watch. How could anyone attack his efforts here.
To think of what can be done with these little cameras compared to what would have been necessary to achieve these kinds of results just a few years back, it's absolutely awesome!
(For the record I've not seen any Caballero directed cinematography yet. If you're going to throw stones at other filmmakers, best to back it up with something more solid than words on a forum)