Re: The PERFECT Indie Video/Cinema Camera

E

ectobuilder

Veteran
Re: The PERFECT Indie Video/Cinema Camera

WHO: This is for all the indie filmmakers out there (could be scripted productions or run and gun live event filming).

QUESTION: If you could build the PERFECT camera for YOU, what features would it have and at what price would you be willing to pay (body only).
 
DSLR-like body, APS-C or bigger sensor with full readout, internal Cineform RAW, 13 stops of DR or more, nice skin tones, versatile lens mount (e.g. NEX), $6K

edit: wait, if I can dream, make it full frame and $800; thank you very much
 
Samuel H said:
DSLR-like body, APS-C or bigger sensor with full readout, internal Cineform RAW, 13 stops of DR or more, nice skin tones, versatile lens mount (e.g. NEX), $6K

edit: wait, if I can dream, make it full frame and $800; thank you very much
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What about crop modes? So that you can have APS-C and Full Frame in a single body? In terms of dynamic range, would you rather have it skewed towards shadows or highlights?
 
I don't need crop modes if I'm shooting CineForm RAW with very high resolution: I can just crop or reframe in post, and saving SSD space (because yes, it needs to record to standard SSDs too) is not THAT important once you're shooting compressed RAW. I could go for crop modes if it gets higher fps, but it's not a high priority for me, as long as I can get, say, 60 fps in full sensor mode.

I don't have a very specific preference regarding distribution of the DR.

What are you up to?
And also: http://www.dvxuser.com/V6/showthread.php?299568-Question-about-RED-s-HDRx-why-don-t-people-use-it
 
It would be almost exactly like an AF100, but with GH3 sensor and codecs, true 10-bit 422 out on SDI, and a svelte, well-integrated external P2 recorder that will work with 60p VFR. Internal Micro-P2 recording with optional AVCHD recording would be equally swell.

Small, stealthy, and sharp with good onboard audio and some easy amp-ups for the occasional job that needs them without a mess of trailing wires and dongles. That's all.

I'd easily pay $6.85
 
No such thing as "the perfect camera" as everybody's needs are different, even from project to project, or scene to scene. I have 5 modern cameras I keep in-house and use whichever tool is best suited to the job at hand.
 
I had the fortune or misfortune, depending on your point of view, of hands on a 1DC in person and seeing what it could do. 4k, 1080-60p and most importantly an unbelievable noise free iso 6400 ability. If I had to pick one and only one body right now that would be it. Somewhat future proof, a reasonable form factor with a familiar layout and compatible with all my current glass. Stupid expensive at $12k, but there's not much to compare to in that realm. The image, sensitivity and layout are just that good.
 
David W. Jones said:
No such thing as "the perfect camera" as everybody's needs are different, even from project to project, or scene to scene. I have 5 modern cameras I keep in-house and use whichever tool is best suited to the job at hand.
Click to expand...

Notice how this post is for the Independent Film maker who has to rely on a "go-to" camera for day to day work. Yes from time to time we get clients that can budget in a camera as the "right tool" for the job, but for the most part this question is geared towards the Indies. Also notice how the question said "Perfect Camera for YOU" and not merely just the "perfect camera".

Having said that, your perfect camera appears to be one that is diverse as possible, one that can "morph" into different tools for the job.

Imagine if your "5 modern cameras" were built into one camera?
 
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Samuel H said:
I don't need crop modes if I'm shooting CineForm RAW with very high resolution: I can just crop or reframe in post, and saving SSD space (because yes, it needs to record to standard SSDs too) is not THAT important once you're shooting compressed RAW. I could go for crop modes if it gets higher fps, but it's not a high priority for me, as long as I can get, say, 60 fps in full sensor mode.

I don't have a very specific preference regarding distribution of the DR.

What are you up to?
And also: http://www.dvxuser.com/V6/showthread.php?299568-Question-about-RED-s-HDRx-why-don-t-people-use-it
Click to expand...

Sounds like you're on slower productions rather than run and gun?
 
c3hammer said:
I had the fortune or misfortune, depending on your point of view, of hands on a 1DC in person and seeing what it could do. 4k, 1080-60p and most importantly an unbelievable noise free iso 6400 ability. If I had to pick one and only one body right now that would be it. Somewhat future proof, a reasonable form factor with a familiar layout and compatible with all my current glass. Stupid expensive at $12k, but there's not much to compare to in that realm. The image, sensitivity and layout are just that good.
Click to expand...

What would you do to the 1DC to make it more "perfect" for you?
 
David W. Jones said:
No such thing as "the perfect camera" as everybody's needs are different, even from project to project, or scene to scene. I have 5 modern cameras I keep in-house and use whichever tool is best suited to the job at hand.
Click to expand...

I think he's looking for hypatheticals here, but I could be wrong. I would love to see Canon C500, married to the new Sony. Meaning, Sony body and specs (global shutter, ect...), with Canon image. I suppose you should be able to get close, but there's just something about the way the Canons image looks that continues to draw me back to them. I'm just not a fan of the form factor of the cam, I much prefer the way Sony constructed the new f series cams.
 
ectobuilder said:
Notice how this post is for the Independent Film maker who has to rely on a "go-to" camera for day to day work.
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Where do you say that in the original post? And what do you consider an "independent filmmaker"?

Since I am not funded or employed by a major studio, I would definitely consider myself an Indie Filmmaker.

Also note that everybody's day to day work differs, as well as the budget for such. Which is why there are so many different cameras on the market today. The same is true with lenses. "What would you want in the perfect lens?" Everybody's answer would be different, depending on the job at hand.
 
maranfilms said:
You crack me up man, but I do see your point:)
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I know sometimes I push it a little, but as someone who has owned a good number of cameras over the years, (ARRI Arriflex III, ARRI Arriflex 35IIC, ARRI Arriflex 35BL-III, ARRI Arriflex SRII HS Super 16mm, Bell & Howell Eyemo 35mm multiple cameras, Canon T2i, Canon 5DmkII, Canon 7D, Canon XH-A1, Canon XL-1S, Eclair CM3 35mm multiple cameras, Eclair NPR 16mm multiple cameras, Eclair NPR Super 16 multiple cameras, Fries Mitchell 35R3 35mm, Paillard Bolex Rex 5 Super 16mm, Paillard Bolex H-16 16mm multiple cameras, Paillard Bolex H-16 M 16mm, Panasonic AF100, Panasonic GH2, Panasonic GH1, Panasonic AG-EZ1, Panasonic SDX900, Photosonics 4CFC HS 35mm, Red One M, Sony PD170, Sony DVW-700, Sony BVP-7A/BVV-5, I know I'm forgetting some) there really isn't a perfect camera for all things.
 
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It would be a box with an image sensor (global shutter) attached to an FPGA, the FPGA would be attached to a DSP and processor. It would use SSDs for storage, and have 4 ssd slots (maybe use mSATA SSDs, or maybe both mSATA and 2.5" SSD).

It would have some SDI ports, some HDMI ports, both for mostly external viewing since it would be able to record anything internally, buttons and dials to be able to control functions without having to use a soft menu, an internal filter system that can be modified to use whatever filters you want, all kinds of 1/4" mount points. Flange distance would be short, so there would be a bunch of adapters. I would also add a universal bus system for lenses, so that you could load different lens "profiles" and be able to electronically control lenses.

The lens mounting point would be off centre so that you could buy 2 of the cameras, and flip one upside down, so you could film in 3d and have proper simulated interpupillary distance (~63.5mm).

It would also come with an OLED screen that is detachable and you can mount it anywhere you want on the camera. The camera would come, out of box, only with RAW recording capabilities, and an SDK for developing whatever you wanted for it. Although I guess a few other recording options could be developed, based on open source technologies.

I'd also want it to be as weather resistant as possible.

In fact, I have most of the camera planned out, parts wise, in my head, except for what image sensor to use that would be available to us plebes, maybe have a modular system so there could be multiple choices sort of like the Ricoh GXR stills camera.

I can code, I can build some hardware, and I like to tinker, and being able to change the camera around as much as possible would be amazing. I just need a few CEs to help me realize my dream!
 
David W. Jones said:
Where do you say that in the original post? And what do you consider an "independent filmmaker"?

Since I am not funded or employed by a major studio, I would definitely consider myself an Indie Filmmaker.

Also note that everybody's day to day work differs, as well as the budget for such. Which is why there are so many different cameras on the market today. The same is true with lenses. "What would you want in the perfect lens?" Everybody's answer would be different, depending on the job at hand.
Click to expand...

Of course lenses are different as they are physical glass. A camera on the other hand is all transistors and software, so we can actually design the perfect camera based on what our aggregate use-case are.
 
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