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ATTN: Dave LaRonde
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The folks over at Zacuto have done some extensive testing of DSLRs vs Kodak and Fuji stocks. They used the same Zeiss lenses on all the cameras to eliminate lens differences. Bottom line is that film still wins, with 2 stops more latitude than the best DSLR. But the film folk interviewed in the videos were all blown away by the results of the DSLRs. Canon seems to have the edge over Nikon and Panasonic DSLRs.
Cheers
John Christie
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4/3 is a ratio. Like the olympus DSLR system they are 4:3 not 3:2 like an APC style DSLR from Canon or Nikon.
Warren Eig
O 310-470-0905email: warren@babyboompictures.com
website: https://www.babyboompictures.comhttps://www.babyboompictures.com/BabyBoomPictures/AFX.html
https://www.babyboompictures.com/BabyBoomPictures/KnitWits_Movie.html
https://www.imdb.com/name/nm0251670/EDITING REEL: https://www.babyboompictures.com/BabyBoomPictures/Editing_Reel.html
TITLE DESIGN: https://www.babyboompictures.com/BabyBoomPictures/Titles_Reel.html -
I think this is different, Warren. It’s not the aspect unless I’m reading it wrong,
“The AF100 incorporates a 4/3-inch, 16:9 MOS imager.”
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[Jeremy Garchow] “4/3-inch”
I think you are reading it wrong 4/3 is a ratio.
Warren Eig
O 310-470-0905email: warren@babyboompictures.com
website: https://www.babyboompictures.comhttps://www.babyboompictures.com/BabyBoomPictures/AFX.html
https://www.babyboompictures.com/BabyBoomPictures/KnitWits_Movie.html
https://www.imdb.com/name/nm0251670/EDITING REEL: https://www.babyboompictures.com/BabyBoomPictures/Editing_Reel.html
TITLE DESIGN: https://www.babyboompictures.com/BabyBoomPictures/Titles_Reel.html -
No it isn’t the ratio. As Walter’s previous post said, they didn’t call the chip size 1 and 1/3 but called it 4/3. It has nothing to do with the aspect, just the size of the sensor (in inches I presume). Perhaps it is time to label sensor size in mm.
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How could it be a 4/3 and 16:9? Did you read my quote? It’s not 4:3. I know what you’re saying, but I don’t think think this represents talhat in this case. Did you read the press release I linked to?
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Actually Dave, there is a huge positive to the great DSLR scare. It has prompted manufacturers to consider adding a decent still facility to video cameras and upping the res way beyond mere HD broadcast. I am waiting patiently for the RED Scarlet to become available. While they fiddle with the final form of the camera, they are touting high quality stills as a function of their camera.
Perhaps stills cameramen will eye the price and ergonomics of a camera like the scarlet and choose it over a DSLR. If I was a sports photographer, having a high res camera that shoots 150 fps continuously would be better than any DSLR burst capture.
And btw, folk music, like movie capable DSLRs never die. They might go back into their box a little.
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“When the script calls for shot an inch above the road at 70 mph, you feel a whole lot better about having a cheapie with you. ”
At 70 mph you’d have to deal with that wonderful rolling shutter issue. Time to throw it into Nuke. Haha.
Motion Design, Color, Editing
Simulated Wood Grain Cabinet Inc.
(Seriously though, that’s the name on the paycheck) -
I have been experiencing the canon 5de and the worst it has to throw up for post workflows
it seems to be the tool that people that know very little about video signals and FCP media management are going to and then have others pick up the pieces as best they can when they didnt listen at the beginning
both projects we received had the wrong frame rate, one was edited in h264
the only one that came out ok was the 7d content and the person working on that had many headaches to give it to my work in a good state
the new log and transfer and the 5d supporting proper frame rates is a bonus
dealing with motion artifacts that an alchemist cant deal with shows that the camera isnt for proper video production day in day out, it has a lot of motion compression that comes up later as problems
other thing I noticed was the low light shots had stripes through them, didnt like being lifted at all (loads of nasty noise), there is aliasing as the camera over sharpens, cant deal with fast movement at all, its jerky as hell
dont get me wrong the images look great if you want a punchy image, its just a bloody nightmare in post and as it is cheap people will run to it and then keep handing over their mess in post. I would be surprised if these folks are even going to retain the folder structure to get the log and transfer to work properly.
as this is a final cut pro forum I think it is worth mentioning that this camera can be the right thing but it aint great within a post production workflow, best to keep the focus on the right forum if you know what I mean and address how the tool works with final cut pro if thats were messages are posted
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Please have a look to the test of Alister Chapman on the Canon T2:
https://www.alisterchapman.com/
I think that the problem of the DSLR is just a matter of processor.
SONY and PANA had been fast addressing this issue for their new line of VIDEO CAMERAS.
Personally I don’t expect more video implementation in the DSLRs.rafael
PS: I think that 4/3″ is the size (33’8mm, so basically 35mm).
Don’t see the point in making a 4×3 captor in 2010.
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