Hollywood Celebrity Canon DSLR Users

[handsome pete]

Yes. 720p60 and it is a still camera, the original timelapse machine. Any other undercranking is horribly cliche.

I'm not talking about interval recording. I'm talking about real over/under cranking. There's a difference. And yes, the Canons shoot 720p60. But what about 45fps? 40fps? And they're not cliche. They have uses in many applications.

No. When did you last capture uncompressed from a camera?

Before I got rid of my EX1, quite a few times. But my point wasn't how often you would need to do that, it was just to reiterate that some things can be shot with the EX1 that couldn't be with a DSLR.

No. Who uses those? Seriously, even for event stuff...go manual.

You'd be surprised. While you certainly don't want to over use it, there are a lot of good uses for a smooth zoom in some shots. You can certainly get away without it most of the time, but it does have its merits.

No. Its one flaw as an event camera, which it is not completely, for speeches at least. I suppose thats the "gotcha."

I don't even think the 12 min limit is that big of a deal, unless you are planning on doing a lot of event work. Again, was just proving a point. These cameras make great low budget cinema cameras which, from what I can tell, is what a lot of people seem to be using them for. But they still have a lot of limitations when it comes to paying gigs. And I'm not saying they can't get the job done more often than not. It's just that they're not always the best tool for it.

I don't know why people get so offended when it is pointed out that their camera isn't the be all end all solution. They're fantastic cameras. I just bought one recently and can't wait to get out and use it more. But it's a fact that dedicated video cameras still rule when it comes to paying work.

 

[Terry_Lasater]

What is the topic of this thread again?

 

[Jack Daniel Stanley]

Flatulent blonds I believe.

 

[Terry_Lasater]

Ah, yes... I love that old song "What's Going On?".

 

[Ethan Lane]

wait, I thought we were talking about the best camera for shooting pornos?

 

[Gary Huff]

Brazilian fart porn?

 

[ydgmdlu]

Also what you keep failing to not comprehend is the money that Tv stations, Record Labels, Film Projects, etc. are always trying to find ways to save money. These HDSLRs properly used IMO are simply unmatched by any video camera factoring everything else I already mentioned.

What about the codec? Let's face it: For certain professional applications, the inefficient implementation of H.264 used by Canon, along with the inefficient implementation of AVCHD by Panasonic for the GH1, and the pitiful implementation of MJPEG by Nikon, simply don't work well for certain post-production workflows. I'm no fan of the HVX200, but I can admire the possibilities of DVCPRO HD.

 

[Ryan Farnes]

I don't know why people get so offended when it is pointed out that their camera isn't the be all end all solution. They're fantastic cameras. I just bought one recently and can't wait to get out and use it more. But it's a fact that dedicated video cameras still rule when it comes to paying work.

No offense taken. I was just having some fun because to me, the questions you asked are all basically negligible or the capably handled by a DSLR like the 7D. But again, that is for what I am doing, negligible for me. I don't personally need 40fps, but maybe someone else does. To each his own.

 

[ydgmdlu]

RED camera will cost $1300+ per day if not more, when compared to a HDSLR.

WHAT? Where did you get that number? I seriously doubt that you've priced a RED package lately. I've never heard of a RED package that rented for anywhere near that much.

There's a joke in the videography world, which has become old by now, that "Everyone and their mother has a RED." The unfortunate downside of RED being so affordable (compared to other digital cinema equipment) is that the market has actually been flooded with RED. It might be hard for you to believe, but it's true. In the early days after RED started shipping, some freelancers were able to build careers by being among the few that owned RED gear.

Now there are many owners who are struggling to profit from their investments because the competition is so high. I've read that in Los Angeles, you can easily rent an entire RED package (included lenses and other accessories) for less than $300 a day. There are plenty of owners whose RED gear often sits unused, because supply has outstripped demand, which has led to some owners offering to rent their gear for free on certain projects. So RED has become truly affordable for everyone, renters and buyers.

 

[ydgmdlu]

No offense taken. I was just having some fun because to me, the questions you asked are all basically negligible or the capably handled by a DSLR like the 7D. But again, that is for what I am doing, negligible for me. I don't personally need 40fps, but maybe someone else does. To each his own.

Then you don't even need a DSLR. Compact digicams had video capability before DSLRs did, and some of them can perform just as well, minus the interchangeable lenses and shallow DOF. Does that mean that video-capable compact cameras also render dedicated camcorders largely obsolete?

 

[Ryan Farnes]

Then you don't even need a DSLR. Compact digicams had video capability before DSLRs did, and some of them can perform just as well, minus the interchangeable lenses and shallow DOF. Does that mean that video-capable compact cameras also render dedicated camcorders largely obsolete?

I was just responding to his comments about camera capability. Never said they render them obsolete. For what I am doing, they cover my bases. I never shot anything but 24p and 60p, nor did I use an auto zoom, etc... Anyways, point being, I think that the image coming out of the DSLRs are great. Perhaps some digicams come close, but yeah, "minus the interchangeable lenses and shallow DOF" sort of is the whole point of what makes the DSLR concept sexy.

As the thread originally started to show, they are great little mini cinema cameras. If people are using them for event work too though, more power to them.

 

[raneparish]

At the end of the day, if you've got no story, you've got no movie worth seeing.

 

[Tracey Lee]

That's a safe bet; I think those of us with DSLRs are living proof, because if you told someone five years ago that we'd be using these things they'd have stared at you like you were crazy.

yeah, when the d90 first came out I was commenting on a forum how cool it was and where that might go. i got laughed at and those who laughed now use DSLRs.

 

[Kholi]

How did this thread get so long?

 

[Terry_Lasater]

How did this thread get so long?

The original topic was abandoned several pages ago. Since then, it has taken on many shapes.

 

[Kholi]

WHAT? Where did you get that number? I seriously doubt that you've priced a RED package lately. I've never heard of a RED package that rented for anywhere near that much.

There's a joke in the videography world, which has become old by now, that "Everyone and their mother has a RED." The unfortunate downside of RED being so affordable (compared to other digital cinema equipment) is that the market has actually been flooded with RED. It might be hard for you to believe, but it's true. In the early days after RED started shipping, some freelancers were able to build careers by being among the few that owned RED gear.

Now there are many owners who are struggling to profit from their investments because the competition is so high. I've read that in Los Angeles, you can easily rent an entire RED package (included lenses and other accessories) for less than $300 a day. There are plenty of owners whose RED gear often sits unused, because supply has outstripped demand, which has led to some owners offering to rent their gear for free on certain projects. So RED has become truly affordable for everyone, renters and buyers.

Shhhh! Why are you telling away secrets, man!?

Besides, why would you want to spend 500/day on a full RED ONE production package and have peace of mind when shooting (I've fallen in love with Aliasing, personally... it adds a certain flavor to the image that just can't be had with more professional systems) and finishing your project when you could just shoot with a DSLR because it's cheaper and smaller.

That doesn't make any sense...

Now... stop telling everyone how cheap it is to rent a RED these days...

 

[amazon1a]

Here is confirmation direct from the director of "House" that the entire season finale was shot completely with a 5D

http://philipbloom.co.uk/2010/04/10/house-season-finale-shot-entirely-with-canon-5dmkii/

Looks like the Canon haters have to eat crow for the 20th time in a row. RED Just got out RED'd by Canon- wonder if anyone will out canon canon and make a $50 pro quality camera with changeable lenses? lol. Is this the final nail in RED's coffin?

 

[Jason Ramsey]

Looks like the Canon haters have to eat crow for the 20th time in a row. RED Just got out RED'd by Canon- wonder if anyone will out canon canon and make a $50 pro quality camera with changeable lenses? lol. Is this the final nail in RED's coffin?

what a silly first post....

Oh... and by the way... no multiple usernames.

 

[Andrew Sisnett]

Hello,

I originally started reading this thread today looking to see what's being done by celebrity canon DSLR users.

What I see is a thread degenerated into why the DSLR's are bad for X Y & Z and what they can't do. Why HDSLR A is better than HDSLR B and comparisons being made to the RED....

I think the point is missed here. Anybody who uses a camera is dealing with a visual medium.

And in the medium of DSLRS, I'm seeing amazing and beautiful things being made with these cameras, which is why I purchased one. The camera is the eye of the poet, and what has been done by professionals with these cameras is certainly visual poetry. 99% of the planet (your audience) does not care about 4:2:2 vs. 4:4:4 colour space. What they care about is what looks good. And frankly, these cameras are more than good enough.

But if you want the absolute top end highest quality image possible with the best colour space and best resolution at 400x image zoom, or no jello cam cuz you want to do whip pans like nobody's business you're going to go with the best camera to handle those things.

Or if you want the best sports TV camera to shoot with, or most reliable as ENG use the one every professional tells you is the best. They're the ones using them on a daily basis.

But that doesn't mean you -can't- do it with something else too. If you think you can use something else and be a trailblazer then all the power to you!

When comparisons start being made on extremely specialized technical levels instead of celebrating the end products, you're just splitting hairs, really....

Anybody who knows anything about these DSLRS knows that they're powerful. And anybody capable enough can make something great with them. It's a matter of workflow learning curve and creative know-how.

Why is so much time devoted to this kind of deviant off-topic instead of celebrating what true professionals are doing with them?

Why are so many arguments being made in text, about what these cameras can do, rather than backing it up with your own footage?

You want to talk about how great the GH1/7D/5D is? Show me what you did. I'd really love to see it.

You wanna talk about how great camera X is in low light? Please, shoot a night scene and post it up.

Don't get me wrong, I love this forum and I've learned a lot after ghosting it for so long but I think all the bickering is misdirected and counter productive. I'd like to see more of "look what I can do" instead of "this is what you can't do, and why".

My two cents. I've learned a lot from all of you.

Keep it positive and constructive.

 

[biginvegas]

I came back from the Berlin film festival a few months back having seen a bunch of films, mostly shorts shot on the 5 and 7, next year there will be features in the sidebars and possibly in competition, I have no doubt about that.
For us 3rd world filmmakers (South Africa here) the HDSLR revolution is big, it's a new wave for us. We can take cheap small camera's into the field with old Nikon lenses, use 2 or 3 person crews to make authentic beautiful gritty small films with non actors, on zero budgets that can compete on the world stage and project at festivals on HDCam if selected. No expensive DI needed unless your film is acquired by a distributor... then you and your sales agent can scramble for cash. 35mm, 16mm is dead for us and I weep but you gotta do what you gotta do. RED is available but rentals costly and prohibitive and most often comes with a DP. HDSLR hybrids are by accident designed for us out here to get the filmmaker back behind the camera and rid the industry of the heirarchy and tyranny of the DP's and crew that slow down the shoot.
Americans filmmakers indie or Hollywood will always be spoiled by a dizzying array of formats and camera's. Tarantino will shoot film because he can afford to, we cannot. It's that simple.