Is this the nail in the coffin for Adaptor rigs?

maybe, maybe not. A lot of productions always rely on dedicated sound. I currently shoot the 7D with the mics attached to the zoom h4n.

I'd like to see the "final nail" be driven in by an issue thats mostly image/visual related.
Say, an hdmi out that can be recorded off the sensor, or canon themselves, coming out with a handgrip like add on module that can record onto a robust codec from their sensor to bypass the compression. Guys from europe have recorded the HDMI out and removing in post the red record dot on the top right of the frame for hi res green screen work.
I'm implying these for their existing cameras.

BUT for their new offerings, yeah, with audio fixed. Image, no aliasing then wham! thats the final hammer stroke.

Even then, Ive already prepared the glass case for my 1st adapter prototype for inclusion in our museum. (this i'm not kidding)
 
Um, is it me or do all these new cameras simply look like small video cameras with built in 35mm adaptors. LOL. Seriously, it does seem like coffin nails are big here. Again I point out that there are people still shooting on equipment at the sub $1000 range. The HG10 I bought actually went up in price once I told everyone about it. I got it for $369. It went up to $399. So as long as refurb HF, HG and HV cameras are being sold, someone will be looking for an adapter.

Anyone here remember Lumiere HD? When computers became able to edit HDV without issue Lumiere HD went out of business. I always wondered was that a good move on their part considering the current need for AVCHD conversion. Lumiere HD could be doing that now. I think the same is true for adapters. Someone will need them. And remember as new cams come out older one lose their value and others buy them and outfit them to their liking. When the 7D is selling at $500 then we can start talking coffin nails.

-Nate
 
henryolonga said:
Am I the only one who thinks that the grain that the DOF adaptors and slight softness is something that is still desirable?
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No, you're not the only one. I just can't imagine telling my story with DSLR. I got one (two actually), have been shooting with it for some time now and am really happy I didn't sell my SGBlade and lenses (well, I even spent $3k to get more Canon FD lenses to be used with adapter).
I don't really know what to think about AF100. Not sure I'm gonna like it. And yes - the Scarlet? I'm thinking about getting 2/3'' version and using it with Blade via relay lens. I just love the diffusion gg adds. It's got its personality. I'm unable to recreate it with filters - neither in my mattebox, nor in the post. Call me oldschool guy...
 
Sorry guys but I'm sticking with the DVCPROHD & 35mm Adapter workflow for quite some time. Maybe its because I'm editor/colorist first but honestly, I hate the h264 codec and wish you could somehow bypass it on the 7D. DVCPROHD edits as smooth as baby's bottom in Final Cut Pro and has great color information which makes color correction a much more enjoyable process.

Having to convert h264 to Apple ProRes is fine and all but the footage as sharp as it is still missing some life. Sure you can up the saturation or push your magic bullet to the max, but again, DVCPROHD is a solid codec that isn't going anywhere.

It's funny how DPs don't care about the editing process. And that's what drives me up the wall. Depth of field is great and all guys but don't forget about the post guys too. That means more work on our end especially working with a h264 4:2:0 headache.
 
Carlos Corral said:
Sorry guys but I'm sticking with the DVCPROHD & 35mm Adapter workflow for quite some time. Maybe its because I'm editor/colorist first but honestly, I hate the h264 codec and wish you could somehow bypass it on the 7D. DVCPROHD edits as smooth as baby's bottom in Final Cut Pro and has great color information which makes color correction a much more enjoyable process.

Having to convert h264 to Apple ProRes is fine and all but the footage as sharp as it is still missing some life. Sure you can up the saturation or push your magic bullet to the max, but again, DVCPROHD is a solid codec that isn't going anywhere.

It's funny how DPs don't care about the editing process. And that's what drives me up the wall. Depth of field is great and all guys but don't forget about the post guys too. That means more work on our end especially working with a h264 4:2:0 headache.
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ditto.
 
Mbala said:
Yes but the bottom line is the film look for low budgets. The key issues seem to be sensitivity and weight. It seems to me the DSLR solution has the double advantage of being light enough to be hand held (which means no heavy equipment or assistants) and sensitive enough for natural lighting even at nightime (which means total freedom). The audio issues or video options really seem secondary issues next to the two big key issues.

What would be the key advantage issues of the Adaptors rig?
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The key advantages are no moire, much, much better codec, SDI out with ability to use Nanoflash (on many cams), and if used with a good cam like the EX1, actual 1080p resolution (5D is about 550p, just recorded onto 1080p codec). We add to that XLR inputs, fodl out lcd with such features as peaking and the ability (on most cams) to record 109 IRE in 8 bit (so 10% more grade values to work with).

Here is the real clincher - virtually all networks accept Ex1 or Varicam footag e- virtually non accept DSLRs. Almost no broadcast professionals use DSLRs

Phil Bloom doesn;t talk about it because his partners at Zacuto and he make too much money selling $4000 dslr rigs to suckers. Of course they will tell you it's a great choice.
 
teddybear said:
Kicap,

I collated my chart test and pics. So here it is. This is compressed jpeg, but you can picture the results.

The 50mm f1.4 nikon lens was at 2.8. On the Canon 7D the iso was at 125 shutter at 50.
On the JVC it was at 48 at 720 24P

I'll post the individual charts after.

1271607005.jpg
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On a new edition good adapter with a 1080p cam (like say Ex1 with RR micro M2 encore) you would get much better results than the JVC and I'm not sure what adapter.
 
DEPTH OF PHIL said:
DSLR is sharper than adapter with EX1 . But it is dependent on you lens obviously!
Sharp is not always a good thing when we ant a filmic image, focus softness should to be intentional and pull to the sharpest image possible. But lens softness is ok for dream or beauty shots. We put on a matte box with a soft fx filter, it is too flat and sharp by itself for our uses.
Cheers
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That is not correct. A 5D is just fake sharpness created by lien skipping. You do not see, for example, correct skin texture with it. I really think DSLR footage is pretty ugly.
 
Lenilenapi said:
Yes - at the end of the year Panny and by NAB next year Sony will have dedicated 35mm video cameras - that will indeed be the end of the Adapter market but what's more it will be the end of the DSLR craze as those things will have much better quality and will be set-up properly for video. In 2 years a Canon 5D will be ancient history for video.
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Agreed. For now you are much better off going the adapter route, or renting a Red
 
Robert Ruffo said:
The key advantages are no moire, much, much better codec, SDI out with ability to use Nanoflash (on many cams), and if used with a good cam like the EX1, actual 1080p resolution (5D is about 550p, just recorded onto 1080p codec). We add to that XLR inputs, fodl out lcd with such features as peaking and the ability (on most cams) to record 109 IRE in 8 bit (so 10% more grade values to work with).

Here is the real clincher - virtually all networks accept Ex1 or Varicam footag e- virtually non accept DSLRs. Almost no broadcast professionals use DSLRs

Phil Bloom doesn;t talk about it because his partners at Zacuto and he make too much money selling $4000 dslr rigs to suckers. Of course they will tell you it's a great choice.
Click to expand...


True that most don't accept DSLR's, however House's finale this season was all shot on the 5D. I love the DSLR's for what they are, but my HVX/Brevis combo got more organic looking footage than my 7D. That being said though, once I can get a DSLR with a PL mount that uses a good codec I am on the bandwagon.
 
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