GH1 vs Red One vs Canon 5D Mk II footage comparison shoot out!

Kholi said:
... =( And I really like Catcus Cooler. Stop making fun of me.
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I didn't mention cooler. someone else. not making fun .. agree with you.
just saying I don't carry a slate, I hit DISPLAY on GH1 and call out the time and the word sync. helps when u have 20 files on your H4
 
Barry_Green said:
Sync'ing double-system sound is one pain in the patootie I don't miss from my days of shooting film.
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Yeah as I mentioned though I prefer this at least on set because it makes the crew more mobile because the sound guy and the camera guy aren't literally tied together and makes life easier, especially working with students.

I'd rather work a little bit harder in post on putting sound in, etc, than have to deal with having less good coverage to work with because the crew wasn't able to get everything done...ok maybe that's an extreme, but still...

life harder in post means me sitting at my computer for a few more hours a night, or maybe doing 2 all nighters instead of 1 (college student, used to this) but making life harder on set for a whole crew means wasting many people's time.

Anyway, as a senior member in an on campus film production club I feel as though part of my duty is also teaching, and doing sync sound digitally is a great learning experience for students that otherwise probably wouldn't do it it at an all digital film school, for when they grow up and go shoot film in Hollywood or on an indie feature, as I am sure some of them will :)
 
Kholi said:
Things could get really scary then... really scary... like your Avatar.... but scarier.
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Speaking of Avatars, Jason Ramsey's has just proven I'm epileptic. God bless this forum.

Damn, I want to say something but when I try three pages go by. See...

I like the Gh1. It does things a few months ago I wouldn't think it possible to do what I'm doing especially at the price. The Scarlet was the Holy Grail seen on the horizon but time isn't it's friend anymore. Like the bigger names on this forum it should provide the opportunity to move up, build a good kit that can advance with technological advances.
Tech surveyed in a strip club recently. The DP was stunned by the footage put out in the wild colour mixed setting. Me, I wasn't paying attention.

But I would kill for live video out.

Ok I wrote that and everybody's probably moved on to coffee makers.
 
J Davis said:
I didn't mention cooler. someone else. not making fun .. agree with you.
just saying I don't carry a slate, I hit DISPLAY on GH1 and call out the time and the word sync. helps when u have 20 files on your H4
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I know, I'm just making you feel paranoid.
 
Plus on the sound front:
Our last production was a 40 minute noir (which I guess I shouldn't mention since we're still waiting on our genius, but highly unreliable and eccentric sound guy to deliver the final sound edit/mix) that was like 80% ADR'd anyway......night shoots with the HVX-200...yes, the oh so amazing low light of the HVX-200...suffice it to say we were running a whole lot of generators so we didn't get much for great sound anyway :)
 
I just had my first two gigs with the GH1 this past weekend. The second gig was originally going to be with the Red, but it fell through and so they called me. I previously shot for the director with the HVX200, and I told him about about the GH1 and he liked the idea.

That director actually knew the director of the first gig on Saturday and showed up on set. He saw the camera and said "We're shooting with THAT!?" I guess on the phone he still wasn't understanding what the GH1 was when I described it. Plus it's really small for a DSLR, especially when the set photographer was rolling with a huge Nikon. Anyways, long story short, he seemed really impressed with the GH1 and I don't think he was that disappointed anymore that he didn't get to shoot the project with the Red on Sunday. In fact, I just got off the phone with him and he's extremely pleased with the footage he's watched so far.

I myself am really impressed with the GH1. I came very close to pulling the trigger on a Red One a couple months ago. Instead I opted to hold out and see what happens with the Scarlet. Now, after shooting some tests and two gigs with the GH1, and reviewing all the footage, I don't know that I'll even bother with the Scarlet unless Red does something exorbitantly impressive with it. Next month I'll be shooting a short of my own, and the following month a no-budget feature, with the GH1. Two months ago, hell less than a month ago, I never would have thought of shooting another feature without a Red. But after actually using the GH1 that's all changed. I really think the GH1 (and the 5DMKII and Nokin D90) is a major game changer. Sort of like how the Red One was a game changer when it came out (stressing the "sort of").

All that said... I still think the GH1 doesn't even compare to the Red. I've seen some amazing Red footage and have color graded Red at 2K. They really aren't that close when you get them on a larger screen and start to work with the footage. If I was shooting a project with any sort of budget that could afford shooting on the Red I wouldn't think twice about it. I'm shooting Red. But for no-budget-type projects or something really low budget I'm shooting GH1 and not caring that I don't have a Red on set.
 
Barry_Green said:
Which is why (say it with me, folks) HDMI is a consumer connection, and HD-SDI is a professional connection.

Even though you're getting pretty much the same data on each (except that HD-SDI adds timecode), the actual connector makes a world of difference.

Now, if someone would come up with a locking HDMI, I'd feel a lot better about it.
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Better to have the non-locking option so when someone trips over your cable the camera won't go down and you won't have to kill anybody, unless of-course you like killing people. What's in those barrels you have stored under your house Barry?
 
Mike@AF said:
If I was shooting a project with any sort of budget that could afford shooting on the Red I wouldn't think twice about it. I'm shooting Red. But for no-budget-type projects or something really low budget I'm shooting GH1 and not caring that I don't have a Red on set.
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That is exactly my thoughts lately in regards to the Scarlet. If I had a good budget, then either buy or rent an S35 or above Scarlet. In terms of owning a camera, unless I was a DP that was going to be shooting some sort of project almost everyday, then I have a hard time justifying buying anything Red or even an HPX170 plus adapter combo considering how much it will actually get used.

So for us writer-director types, owning anything priced beyond a GH1 for filmmaking might not be the best way to go about it in the long run. Unless you're the type of director who does a no-budget short film once every month, or you're practicing shooting a lot and can justify the price to use ratio.
 
commanderspike said:
Well, I agree. But that kinda goes against your earlier statements that the GH1 had too simplistic a feature set.

For me, to be able to press a record button and get clean 1080p from a huge range of Zeiss & Leica SLR lenses, along with manageable DOF is all I'll be needing for quite a while.

Now, how can the Scarlet compete with that for the same money? Answer: it cannot.

And whilst the 5D2 was a tempting proposition for me especially having got over my consumerist obsession with having AF in a video camera, the nail in the coffin is this:

The 5D's image quality advantage is that it's better in low light. But that is completely null and void, because if your lens is wide open at say F1.4 you get almost unmanageably shallow DOF. So you have to stop down your lens and lose your low light advantage... great.

Sometimes more a good thing isn't what's needed. Sometimes shallow DOF can be impractical as well as beautiful looking.

The GH1 is the most practical camera I've used for a while.
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basically i want a film camera.
 
TimurCivan said:
basically i want a film camera.
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Same, but with the digital workflow.

Here's where I sit atm. And it's only relevant to me.

I use the HPX500, love this camera. Love the 4 channel audio straight to cam, love the preamps used. Sound is always good quality (with the audio kit I use). I must HAVE the monitoring options and the 500 has them. Love the DOF control - would love to be able to afford the 2/3" cineprimes, but thats just way above what I want to spend as most of my jobs are OK on the standard lens anyway.

BUT, I would love primes direct to camera that are affordable and what they could offer in the price range, where my spend vs ROI is as high as possible. Im not doing this to piss my hard earned money away every six months on new gear. I need and want the things I have on the 500, and if the S35 Scarlet offers me those things plus 35mm primes (looking at the Cinevate lenses right now), for the price that I am utterly guessing on for the most part - well thats where I will be. That is unless someone else comes up with all those needs before the Scarlet comes out. But presently AFAIK Scarlet S35 is the only one on the table telling me that's what's coming. And that's all I have to go by. At this stage Im OK and if Scarlet takes another year Im OK with that also. But it MUST be a final working release version - I have no time to deal with workarounds. And thats because my budgets arent extremely high.
 
Barry_Green said:
Sorry, Timur, I'm 100% with these guys on this one. Everyone starting out should have a GH1 or something like it. Sometimes you just have to have it around, especially for learning.

When you've got your skills, and you're getting hired, then you don't need this stuff anymore. But for guys who aren't at that level yet, owning the product makes a zillion times more sense.
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I think im just thinking in terms of the folks i deal with. My DVX100 did teach me Cinematography....

But i still think People who are trying to be Directors dont need a camera..... then need a pencil, and acting lessons. ( seriously, it helps you relate to the talent)
 
TimurCivan said:
I think im just thinking in terms of the folks i deal with. My DVX100 did teach me Cinematography....

But i still think People who are trying to be Directors dont need a camera..... then need a pencil, and acting lessons. ( seriously, it helps you relate to the talent)
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That is unless they shoot as their day job.
 
squig said:
I want a digital film camera, something like the MKII but 1.6x crop, 24p, 100Mbps mjpeg, and no jello. how hard could it be to make one?
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Lol your sig. Lol. The guy from Rollingshutter films demands a camera with no Jello. :P
 
squig said:
I want a digital film camera, something like the MKII but 1.6x crop, 24p, 100Mbps mjpeg, and no jello. how hard could it be to make one?
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I'll take one, sign me up.

Ben_B said:
Lol your sig. Lol. The guy from Rollingshutter films demands a camera with no Jello. :P
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Maybe soon we'll see someone name their production company Jello Vision. Or for 5D Mark II owners, 30P Productions.
 
squig said:
hehe

If the pentax K7 had 24p and manual controls we'd be almost there, it does about 75Mbps mjpeg and is light on the jello
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For me, 75Mbps MJPEG is a poor shooting format. 8 min clip limit? 2GB file size for 8 minutes of footage? Give me a solid AVCHD codec any day.
 
sunburst said:
give me 4-4-4
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Sure, here you go:

viper_2.jpg


Now, will that be cash, check or money order?
 
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