DP / Filmmaker
@NFS, wouldn't a more appropriate title for this article be, "Why the hell are filmmakers still paying any attention to Canon?"
Haha, in all honesty... this is a company who got lucky off the 5D and just DOES NOT GET US! Nor do they care about "us" (filmmakers). If that's not clear to you yet & your still expecting something worthwhile from the Canon-Camp, maybe you should write for a photography blog.
Canon is dead in my eyes and I have over $10k in EF glass, so it's not like I wasn't pulling for them, but I knew the score back when the 7DII first dropped.
These guys have no interest in catering to filmmakers via DSLR. They would rather you spend 5x more cash to buy one of their plastic Documentary-Cameras.
When they release a 6DII in 2017 with no 4K, it's lights out.
Blah blah blah...
This is one of the most competitive fields in existence. Being a man does not guarantee you anything in this business. It's all about the hustle and your talent. You show me an incredibly hardworking and talented Female DP or Director, and I'll show you a female that is fielding offers daily.
Talent and drive cannot be denied, but to think the stats are so skewed in favor of one gender simply based on the gender alone is a laughable misconception.
As more women take interest in these positions, we will see more women in them. Simple as that.
The goal should always be to assemble the best crew for the job and to produce a product that tells the story in the best way while sacrificing as little integrity as possible. That can happen with any gender or race at the helm.
To insinuate an all-female crew or some form of reverse sexism is what hollywood needs is simply reverse sexism and does nothing but fuel a fire that need not burn. It's not about a shift in the exclusivity, but rather a broader mentality of inclusivity without restriction.
On the flip side, I could offer you an example of an incredibly attractive young Female DP who's work is pretty much garbage with a film grain, yet she has an IG following of 25k+ people and gets to work regularly due to her advantageous "assets"... it's not fair that she overshadows better qualified peers, but it's life and other than pointing it out in this relevant situation, I don't even care enough to complain.
Just worry about you. Don't concern yourself with "the way it's been" or "gender percentages on crews"... the shift has already occurred and droning on about it does nothing to progress your agenda. Proactive steps while wearing blinders however, can and will make a difference.
Again, your comment is only true in regards to the top two tiers listed. For Solo and Indie projects, Ninjamonkey is right on the money. No DP that "commands" any rate would be competing for a $500/day job. In contrast no production paying $500/day is going to be backed by a professional production company. The people competing for these spots and a lot of the Indie work are most definitely swimming in the same pool as some of the DP's willing to work for free to build their reels.
Not entirely true. Tiers 3 & 4 sure... But here in LA those 1 & 2 prices would often be for a DP providing a basic camera package included in their day rate. Maybe it's different where you work, but in my market we're highly saturated with owner-operators and new film-school DP's so that's the way it is. I'm very fortunate to have gotten my start before it reached this point.
For filmmaking, all of my ND filters that are a fixed density (.3, .6, .9, 1.2, 1.5, 1.8) are 4x5.65 (panavision) Schneider WW's... These are substantially more expensive, but when it comes to color rendition & iQ, they smoke all of these.
My 1.8 is the only one that I got in Platinum IRND, due to price... all the rest are standard and I pair them with a separate IR Hot Mirror whenever I stack past 1.8.
My suggestion to fellow filmmakers... If you're going the route of "fixed ND", spend the money and buy once, or rent.
A great alternative is a Variable ND.
The best I've used for sharpness, reliability, and price is the Genus Eclipse MkII. A good alternative is the B&W OR Heliopan. The best I've used (also rather costly) is the Schneider... the LCW & Tiffen are the only others I've tried and they had very noticeable color shifts and sweet-spots.
IMHO, a good Vari-ND will serve many of you far better than those in the video.
If you do go fixed, your likely on a production where a Mattebox is already in the kit, so I suggest you rent some filters to go with it.
And the announcement is met with a resounding..... yawn.
Looks like an awesome photography-camera, which is exactly what this is. One that happens to produce solid video as a bonus, but anyone serious about "filmmaking" could find many ways to better spend $6k.