All posts in Canon

Nikon D4 - Unfortunately Impressive

By On January 6, 2025 In Canon, D4, DSLR, Nikon, PROCESSING With 1 Comment Permalink

I’m in a tricky situation, caught in the middle of an equipment bag restocking. In light of all the new tech hitting the shelves soon, it’s been a priority of mine to prepare my kit with the best-of-the-best for the 2012 shooting season. As gear improves, so does your ability to expand your boundaries. Staying on top of the curve is important in this business.

Nikon have just officially outed the Nikon D4. A 16mp flagship ultra high-end beast of a machine. Brand new sensor, processor, ISO up to 204,800… and there are impressive specs for videographer/cinematographers - 1080p 24fps up to 20 minutes, very high speed sensor read off to drastically reduce rolling shutter, incredible low light performance - it’s looking like a serious entry into the DSLR cinema world.

I’m a little upset with how awesome Nikon are being in regards to a late February delivery. The D4 has been announce months behind the 1D X yet will hit the stores ahead of it by about a month. The only reason I’m bringing up this point is my re-packing of the kit bag requires something new. Something new and amazing. But, there’s a time constraint as well as I have major international projects over the next few months that will require something substantial, and I can’t invest more than I can afford. As of now, the Nikon D4 appears to be coming in time for my travels, and so far promises to be more than enough to satisfy my demands. But being a long-time supporter of Canon, and a huge fan of their equipment, vision and new cinema direction, it’s hard for me to justify I sudden jump. Incase you’re wondering, investing in Nikon wouldn’t mean a full departure from Canon, it would simply be an expansion of horizons.

The 1D X is the camera I want. I’m highly familiar/comfortable with the body (being a long-time 1D MK IV owner) and the new specs look to be ideal for the DSLR filmmaker. Though the photo-specs have heavy weight for me, the filmmaking performance will always take priority when gauging for a sale. There is a certain expectation you familiarize yourself with when committing to a brand. I know how impressive Nikon is, along with many other photo companies, but Canon has always stood out to me. Form, durability and functionality keep me coming back for more. I’ve NEVER had an issue with a Canon product, ranging pro consumer to professional level products. Without the Canon tech, it’s even possible to say my businesses wouldn’t look as they do now… (deep). I’ll keep a close eye on the upcoming test/reviews of the Nikon D4, and honestly I hope it blows my mind! I need to make some hefty purchases quite soon, so now it’s up to who can showoff the most.

Another camera in my top 3-to-get is the NEX 7.

B.

Canon C300 Sensor Explained

By On January 2, 2025 In 35mm, C300, Canon, Equipment, PROCESSING, Sensor With 1 Comment Permalink

Canon has released two white papers further explaining in depth the new C300′s sensor, and the digital signal processing.

1 - SENSOR

Summary: ‘A novel new CMOS large-format single-sensor imager has been developed. It is intended to originate very high quality HD video, and it embodies a number of important technologies that collectively should support the goal to allow image capture that comes closer to the superlative imaging qualities of 35mm motion picture film.’

2 - PROCESSING

Summary: ‘An important new 35mm single image sensor has been developed. It offers video imaging attributes reflective of the most contemporary in CMOS imager technology, and has elevated HD digital motion imaging to a plane that offers a viable creative alternative to 35mm motion picture film.’

Why I love Philip Bloom.

By On December 11, 2024 In 35mm, C300, Canon, DSLR, EPIC, Event, Film, RED, Scarlet With No Comments Permalink

As most of us have now heard, Philip Bloom has said thank you and goodnight to his RED Epic, terrifyingly shocking news! How does one of the most popular, talented and engaging cinematographers give up what is thought to be the peak of cinematic capture equipment!?

OBVIOUSLY HE’S BEEN HIRED BY CANON TO LIKE THE C300 MORE! OR THE SONY!! OBVIOUSLY!

No - if you read his blog post, you’ll understand that it was merely a choice to sustain an equipment list ensuring him maximum comfort and confidence when entering into a paid project. There have been all too many errors encountered, that many of us who follow his tweets are aware of, for him to show up and shoot… especially since he doesn’t own a second EPIC as a backup - another $60,000.00…. hard to see why not!

Imagine yourself as the proud new owner of the RED Epic. Holy wow, it would be a dream. Full frame sensor with 5k resolution at 120fps… it makes me laugh! BUT, now let’s imagine you go into a shot and the beast wont awaken, or the sound wont comply, or whatever general error that eliminates your chance of successfully completing your shot…. your done. You can’t have this happen on a paid shoot. You will look very unprofessional and enstill a low level of confidence in your clients, causing the remainder of the project to be quite on edge.

I’ve always looked at the crazy RED set-ups and wondered how complicated it would be to get them running, and how easily I’d have the workflow going through my macbook pro. This is really a camera that’s getting far too much attention from people who will NEVER be able to fully utilize it’s potential. Why is Uncle Joe looking to buy an Epic to shoot your aunties wedding next year?? Haha, it’s absurd. Especially considering most of the videos we watch now are on a computer monitor! The Epic is designed as a compact monster capable of bringing filmmakers (wanting to publish to theaters) a powerful high res solution with ease of digital format use. It’s rather ridiculous how many DSLR users are drooling over this camera, some even splitting on it with friends. Get real. You’re wasting your time, money and hard drive space!

If you’ve been like me, anxiously fantasizing over an opportunity to even hold the Canon C300, this may boost your affection to a whole new level. I love what Canon have done with the design of their first real cinema camera. It uses tried, tested and true media capture formats, in it’s 50mb/s 4:2:2 codec to dual CF cards…which are cheap, and everyone has them! I’m going to speculate and assume Philip Bloom will become a proud owner of the C300, as a lot of us will, and this camera will kick-ass right on through the whole production list. Canon is a quality brand. Their equipment is as much about performance as it is durability and dependability.

Why I love Philip Bloom? He’s unbiased (I believe) when giving his opinion on the cinema world, and rarely steers you in a bad direction. My career moves rely partly on his reviews and just following his inspiring work. It’s helped me understand what my next step should be, especially in a career that was, at the time, very new, big and scary to me! And it still is, and here we have Phil, years later, providing the same feedback and insight that has kept many of us going for bigger things than we ever thought possible. RESPECT.

B.

 

 

New lenses on the way…

By On December 11, 2024 In 24-70mm f/2.8 II, Canon, Canon 70-200mm 2.8 USM II, DSLR, Equipment, Lenses With No Comments Permalink

I’m quite excited about the upcoming announcement for the new 24-70mm f/2.8 USM II, a lens I’d definitely line up for. Often I’m caught between using a prime lens (for sharper optics, shallower DOF) and a zoom lens (much wider variety of shots). It used to be an easy choice, zoom if your lazy, or prime if your agile and creative! Don’t be bluffed by this bullshit… I shot countless projects on both and quite frankly hold my ‘zoom’ projects higher than my ‘primes’! Especially in a run-n-gun situation where you don’t decide when the action stars/stops, and time changing lenses can often result in a critical missed shot opportunity. If you’re creative, you’ll be creative with a zoom lens. If you’re afraid the ability to get in tighter without moving your feet will cause your little hooves to seize up, than you’re brainwashed, or just lazy looking for an excuse to stand around.

After my first run with the 70-200mm 2.8 II in Shanghai, I’ve begun to question the advantages in prime optical quality. How apparent in the final publishings of your work are the gains from a prime, especially when contrasting with the ease-of-use a zoom lens brings? The 24-70mm was breathtaking, still is. The II is going to be marvellous, like it’s close friend the 70-200mm II. Combine those two with a 1D Mark X, what more do you really need?? 2.8, IMO, provides a nice shallow DOF, and it’s all throughout the entire focal range. We’re untold on the inclusion of IS for the new 24-70, but it’s not all that tight enough to really need it. We’ll see….

Don’t read from this that I’m against primes, cause I love me some primes. When you have flexibility with time, often they are my preference. FYI - new 35mm 1.4 is on the way too!

B.

TimeScapes 4K by Tom Lowe

By On December 6, 2024 In Canon, DSLR, EPIC, Equipment, Film, Random, RED, Scarlet With No Comments Permalink

I’ve been watching Tom’s incredible photography for quite a while now, and he simply is in a league of his own when it comes to landscapes, and galactic star beam timelapses. His shots are so beautifully set-up and executed with such a flawless perfection for the craft. The latest TimeScapes trailer, shot all in 4K using a RED Epic, is another great portrayal of what a dedicated man can artistically create when utilizing patience, passion and vision.

“This is production footage from my forthcoming debut film, “TimeScapes,” a portrait of the American Southwest. This video was filmed and edited at 4K (4069×2304) resolution, four times greater than regular 1080p HD. A 4K DCP file is available upon request. Shot on Red Epic and Canon RAW still cameras.

You can pre-order the movie “TimeScapes” here: timescapes.org/pre_order.asp

Follow the film here: 1) twitter.com/timescapes 2) facebook.com/TimeScapes 3) gplus.to/tomlowe“


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