E. David Nazario
I'm at NAB currently attending a post-production seminar but I had the opportunity to check out Panasonic's booth and see their theatre in action. To be honest, I was disappointed to see that the Varicam was incredibly noisy (video noise, not cinematic grain) at high ISOs that essentially compared to my GH4. Yes, there's more dynamic range. Yes, the highlights roll off in a more pleasing way than my GH4 but there was rarely any shot in their demo that was too far out of the reach of my GH4 which is a fraction of the cost.
If you're going to charge me that much for a camera, I expect better performance.
You know what really impressed me, though? Kinefinity's Terra.
Small body (somewhere between the GH4 and the RED Raven), 13-16 stops DR (depending on the version 5k or 6k and whether it's on rolling or global shutter), Prores 4:2:2 OR RAW CDNG)... in person it looked and felt great.
Now, considering that the URSA (and every Blackmagic camera for that matter) has failed to follow up with their promises (they just announced the URSA will not have global shutter as promised) it was kind of refreshing to see a camera that could live up to their specs.
The downside? The company is in China, and so far hasn't negotiated American distribution... but I'm definitely impressed and certainly interested given their price point. $6k at the highest level.
Although I understand and appreciate the intent of the article, there's a huge difference between a relative unknown pulling this off, and someone with the networking power to pull favors like getting a PR agent to help pro-bono.
I'd be more interested in stories coming from people who don't have connections and still make it, rather than those with the privilege of calling in favors.
And I don't mean to undermine the filmmakers' efforts... I'm sure there were a lot of things the filmmakers had to do to promote their film with a limited budget and I appreciate that... but having the budget to do PR vs. finding a PR rep to do work pro-bono are basically the same thing. What I really want to know is what options are available for those of us without access to either.
Nooooooooo, dude what have you done?! You're not supposed to have a negative opinion!!!
I dug the cinematography, I wasn't enamored with the direction or the acting, though I really dug how charming the connection between the two leads formed. But yeah, I was kind of hoping for a stroke-of-genius, but I was left underwhelmed.
I'll pass. I can see it's use for broadcast, but honestly, it took Canon how many years to give us 10-bit 4K? And only 60fps? For $16k?
For that amount of money I could get a Scarlet package, get higher frame rates, 4k RAW, etc.
I'm not discounting all the nifty features of the C300mkII. The build looks great, the improvements are very nice, autofocus, the 15-stops... but in terms of value for money both the A7s and GH4 blow it out of the water. They may not "look" like they're suited for production, but they can surely handle it.
As someone who started using T2i, then 5DmkII, and now a GH4... I have to say that crispness comes from detail.
The T2i resolves (take this with a grain of salt, this seems to be common belief) 650 lines of resolution, upscaled to 1080. As such, you won't get the amount of detail required for the video to be crisp.
Save some money and get a BMPCC, GH4, or any 4K-capture camera like the C100 (writes 1080 from a 4K sensor capture). You'll notice the difference immediately.
The final line of the article...
"It won't take much to prove you're more capable than Zack Snyder!"
Penned by an unknown... speaking about a director with a lifetime total box office of $1,090,314,269.
This is the internet we live in.