HPX300 + 7D at 720/30p
- Thread starter tommygunn
- Start date
I think everywhere is the same.... and as the T2i and GH1 gain market exposure ... every tom,dick and harry will be a filmmaker.... and personally I think that's great... because as corporates decide they can do it themselves.. they will realize just what's involved in telling a story and it's not really about the tool... there's so much more involved as we all know...
I know a few wedding cameramen that are all up tight about shooting DSLR... although for them it will probably be a fantastic tool to complement their kits... I'm warning them that Johnny's young 15 year old with a T2i shooting behind the scene stuff at the wedding will have better looking material than all the HDV stuff they are shooting....
Anyhow... all cool....
Cheers
I know a few wedding cameramen that are all up tight about shooting DSLR... although for them it will probably be a fantastic tool to complement their kits... I'm warning them that Johnny's young 15 year old with a T2i shooting behind the scene stuff at the wedding will have better looking material than all the HDV stuff they are shooting....
Anyhow... all cool....
Cheers
I bought a 550d as a second camera for a documentary shoot and while it is a nightmare ergonomically the images I am getting are incredible. I have never in 20 years of shooting been able to get the shots I am getting now with a DSLR. The low light ability is amazing.
As for creating extra film makers yes that will happen but that happened with stills photographers, good photographers still make money. I think video cameras will soon be on par with stills cameras in terms of price/ performance. Most stills shooters I know charge more for a day rate than I do with a much expensive kit anyway.
My Panasonic 300 has paid for itself and will continue to work - shooting interviews, green screen and long events esp with the 64 gig cards. But the future for us as camera operators is large sensors and that is a good thing. I'm sure Panasonic will wow us very soon with a large sensor camera. I really think the days of the 50 K cameras like the 3000 series are done. if I can go into an electronics store and put a stills camera on my credit card that shoots better looking video than a specialist HD camera then I'm pretty sure a change is coming.
It's a good thing IMO.
As for creating extra film makers yes that will happen but that happened with stills photographers, good photographers still make money. I think video cameras will soon be on par with stills cameras in terms of price/ performance. Most stills shooters I know charge more for a day rate than I do with a much expensive kit anyway.
My Panasonic 300 has paid for itself and will continue to work - shooting interviews, green screen and long events esp with the 64 gig cards. But the future for us as camera operators is large sensors and that is a good thing. I'm sure Panasonic will wow us very soon with a large sensor camera. I really think the days of the 50 K cameras like the 3000 series are done. if I can go into an electronics store and put a stills camera on my credit card that shoots better looking video than a specialist HD camera then I'm pretty sure a change is coming.
It's a good thing IMO.
steve phillipps
Veteran
In what way would that be? Surely not codec, nor skew nor aliasing, so what then?
I'm no expert in the DSLR thing, but I think a lot will come down to what they are used for. In my area, broadcast, I wonder what the current situation is, and just how much problems the images will be? I say this because for years now the number of people shooting things like Canon XL-H1 and other HDV cameras have said how amazing their images look when played straight through to their TVs and yet they've not been very acceptable to the broadcast industry, and when they have been used the picture falls apart on transmission - this is why the broadcasters didn't want to use them in the first place.
And it's not just the case with low cost / consumer cameras, it was exactly the same for Super 16 film, we all loved it and couldn't believe the networks telling us our lovely footage was not suitable for HD, and it turns out that it's the random grain structure (sort of like its codec) in the film that plays havoc with the encoders on transmission and it falls apart.
With DSLRs yes we're talking about a £1000 camera that on paper may outperform a £30000 one, but I've always thought that there is a reason that one costs more than the other, and that there's just no such thing as a free lunch.
Sorry for the rambling post.
Steve