So once upon a time there was Cinema and there were cinema cameras. Along the way you have the democratization of Cinema. What a wonderful thing. A kid could make a film with an iPhone. A Hollywood director could film in a virtual world. All of this sounds very positive if the story is good.
I recently came across this article: http://doddlenews.com/cinema-cameras-complicated/
It really pisses me off. So if a cinema camera is too complicated, don’t use it. This attitude that DSLR/Youtube trash video should be easy to film is bullshit. What is the story? What is the right tool for that? So, yes the flagship Cinema camera from Canon may be too much camera for your Youtube channel. Is it too much for a film projected in a cinema? probably not. Is your DSLR, highly compressed, 8 bit footage good enough for the cinema? probably not.
Keep cinema cameras complicated for the artists and craftspeople that know how to use them.
On Friday I was working a VIP Super Bowl party for Rolling Stone magazine. I’m stationed on the RED carpet with other press (video and photography and VR). Next to me is this guy that I overhear is working for the PR firm. They ask him if he is shooting video with that (gesture to iPhone on osmo mobile gimbal). He says yes, it is 4K. Later there was some confusing about whether he got an interview of someone that they could use. He wasn’t using any microphones, just the iPhone.
So I’m there hired by Rolling Stone through a production company to basically do the same thing. Film b-roll and grab a few interviews with our guy. I’m using a fully loaded Sony Fs7 with an Easyrig. And we’re not shooting in 4K because it is all going to web and social. I bet his back wasn’t feeling it later.
First time out with the RED Epic W yesterday. A fine camera as it goes. From an operating standpoint it was really no different than using the original EPIC. It all comes down to what accessories you add to it to make it useable in your configuration. I was using the Gratical Eye from Zacuto in addition to the RED monitor bolted to the top. Most of the day was Hand-held so I was using an EASYRIG to take some of the load off. The handle was prone to slipping off the clamp because of the front heavy arrangement using the Sigma Cine zoom and Wooden Camera matte box.
I will say the fan noise was much reduced over that of the original EPIC. I still find the menus and setup of the camera to be cumbersome. A few more quick access buttons and an easy way to configure the ones that do exist?
I didn’t have much time to examine the footage before turning it over to the client but it was much better looking than it looked on the tiny screen on camera. 🙂
This is shocking and blog worthy. $2500 for a super 8 camera from Kodak in 2018! Yes, that is the correct amount of zeros. Kodak has been teasing this updated Super 8 camera for a couple of years now. I saw a demo unit last fall and it was pretty cool. Essentially it has a built in “video assist” as a monitor. It had microphone and audio inputs to record synchronized sound (onto an SD card). They also expanded the gate to get a little more out of the aspect ratio. Sounds really cool, something I might consider for $800. But for $2500 I could get a really nice Bolex 16, An Arri-S with pin registration or possibly and Arriflex SR! Granted film cost and processing escalates with 16mm, but at that point why not. I get the nostalgia factor and warm fuzzy feeling you get with Super 8 but I could not justify this cost. Good luck Kodak.
It has been nearly a year since I’ve written anything here. What’s new? What’s old?
Current rig is the Sony Fs7. The only upgrade this year was a switch to V mount batteries but not the Sony accessory, just a dumb mount from Core. This years goal is to upgrade to better lenses. Perhaps Sigma Zooms and Primes?
Another tool I hope to get this year is an Easyrig®. After operating on a feature (handheld) in June my arm just can’t do it. We’ve seen the Steadicam get budget models over the years but this item is always expensive.
Excited to see what this year may bring.
Soon we’ll have hard drives so massive and error proof that we’ll never have to worry about backing up footage. ever. Ok, that sounds like an organizational disaster probably.
Thinking about cameras coming out this year and every blog I read points to the Panasonic GH5 as the most amazing tool coming out. For some that may be true. 4K, check. 10bit, check. nearly S35 size sensor, check. But some things like LOG recording are at an additional cost. Raw is not an option though that is less important to me than to others. My experiences with the GH4 were limited but the low light sensitivity was so bad it reminded me of my Panasonic HVX200. Now that was a camera!
My thoughts are on BlackMagic. They seem to pull something amazing off at every single NAB since they released their first Cinema camera. The pocket has been very popular in some circles but extremely limiting in nearby circles. Now with the stability of their URSA mini camera perhaps they will look at a version 2 of the pocket. A super 35 size sensor pocket cinema camera.
I have not used the Sony A6500, but I have used the A6300 and this camera is a great little tool. The crop sensor is about the size of S35. It shoots in Slog3 and 4K! If Sony can put all of this into a camera at $1300-1500 Black Magic will make a pocket 35 Cinema camera. ProRes, RAW, 4K.
Who buys a two year old camera? (18 months technically) I guess I do.
You see these days there are two types of digital cinema (video) cameras. There is the compact, affordable, feature changing type like the Sony A7 line, or the slow to deliver Canon 5D line. And there is the high end stuff. Arri Alexa has a 8 year old sensor. Still working very hard. The MX sensor in the RED one is still amazing. ( the 2 minute boot time is not )
So why is it these high-end cameras have stabilized? Firmware. Recently the school I teach at just got a Sony F55. With new firmware the camera can record at higher bit rates, unlock high speed settings that weren’t available when the camera was released. Now the Fs7 I bought is not an F55, but as Alister Chapman has pointed out the Fs7 does 95% of of what the F5/F55 does. For me that is pretty awesome.
So I’ve had the A7S mkII for a couple of weeks now. I’ve shot some tests and a couple of short doc style projects for clients. Using the sLog3 is kind of scary. I’ve read some things on various blogs and haven’t had a chance to thoroughly test it out. With the Fs7 I felt confident about shooting with it, but with only 8 bit I want to make sure I have the formula worked out. So far what do I like about it? Compared to the 5DmkIII it really is quite an upgrade (for motion). I like the 4K image, I like the 120fps (though I haven’t run it through the ringer). The menu is straight forward and really caters to the motion camera. The flip out screen is great. When paired with an external monitor the camera monitor goes black and still functions as a display of operations. It came with a cable clamp for the HDMI and various cables. made of cheap plastic, but I didn’t have to buy it as an add on. Though it should be noted a standard mini-plug may not quite fit in the mic or headphone jack.
What could use some work: Battery life is bad but not as bad as RED’s small volt batteries. various crop factors for 1080. So at 120fps it uses less of the sensor than at 24, 30, 60 fps. Ok, I live with it. It is better than 720P/60. The record trigger is odd. A tiny dot on the right side of the camera. It is not easily pressed by accident, so that is good, but it is hard to activate in a hand held operation. I’m looking for external trigger options.
So I think I like it and it will be a good camera for the next year or two. What comes next? Who knows, maybe Black Magic will finally make a camera worth buying.
So when Andrew Reed at EOSHD posted a first look at the Sony A7sMk2 I really did have to ask why am I still filming with the Canon 5Dk3? Decision has been made. Accessories ordered. Waiting to pick up the camera at a local retailer rather than order form B&H. So why now?
120fps, Slog3, 4K UHD
Sure it is still an 8bit small photo camera, but with those features for $3K, finally have to pull the trigger. The plan is to use the Wooden Camera cage I have for the 5D which will beef it up a little. I ordered the Metabones standard adaptor for use with full frame lenses. For High frame rate or cropped sensor material I already own the speed booster ultra so I can use that for those. I can also use the metabones standard adaptor with my Tokina 11-16 in crop mode. I’m looking forward to that.
Looking forward to checking out this new camera for real.
RED RAVEN, fs5, A7Smk2. Here we are with new cameras all coming in less expensive than predecessors and with features exceeding previous models. What an amazing time to be a filmmaker. But wait, did you just buy the A7s last week, or maybe you got the A7Rmk2 but really should have waited for the A7smk2. Why? The lower megapixel on the a7s makes it better for shooting video in low light. Both have sensor stabilization so it makes them very similar. If you plan on taking more high res stills then the R model will be your pick.
I think the fs5 is a great choice over the Canon C100mk2 because of slow mo burst, 4K and 10 bit 1080. I’m a little disappointed that the 4K material is 8 bit only, but concessions have to be made to make the budget and other factors.
RED RAVEN is another example of how RED doesn’t really understand the landscape or believes their customers will buy for name and hype. 6K for the body, 10K equipped. crop factors? lens mount? audio? I will say it again, for 10K you can have a Sony Fs7 shooting RAW and use any lens you choose. And have really good audio, shoot in prores or XAVC Log3, and built in ND filters. Sorry RED, looks like it is not for everyone.