video camera best choices

[Todd Terry]

[Kevin Cannon] “And a side note for Todd, sometime in the last year Panavision sent all their Phantoms back to Vision Research, saying thanks but no thanks!”

Wow really? I hadn’t heard that… I wonder what the problem was.

Panavision still has the Phantom listed as available on their website… and I know they are used a lot. Mysterious.

Interestingly… since the Panavision Phantom is actually, yes, a Vision Research camera, it is the only Panavision camera you can actually buy (well, without the Panny name badge). But, if Panavision isn’t offering it anymore, I guess one would have to get it from Vision now.

I’m really curious as to what all is happening there… the camera can really do some amazing stuff.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com

[Gerardo Flores]

Hi Kevin

Thank you for join us with you comment…

Im agree with you. but I steel want to know why this cameras like RED are so special…
if you see the adv. in this page maybe as me you will get a link to ARRI ALEXA…
if you see in google the price is 60000 USD to 120000 USD with some components

I mean I know that photographic equipment are expensive but I know what the can do…
even now you can buy a 400 digital camera and make amazing pictures with them…

But I steel dont know much about video cameras and of course I like to have some fuctions there as 120 fps and play with the focusing…

there are as well cameras like this
https://www.bhphotovideo.com/c/product/627521-REG/Sony_PDW_F800_PDW_F800_XDCAM_HD422_2_3.html

and I still dont know the real difference ( or why RED cameras are so special ).

Regards

G.

learning after effects

[Kevin Cannon]

Yup, they need to update that website…

I think Panavision hates to be in the position where there’s a problem with a camera, and they can’t make it right. I gather there were too many of their clients having issues in the field, and “don’t blame us, we didn’t design the thing,” isn’t an acceptable answer.

Abel Cinetech in LA and Fletcher Chicago have them for rent though. And Clairmont has the Weisscam HS-2 which is a neat camera itself…

But the RED, Weisscam, and Phantom are the only 120-300fps (and above) HD cameras I can think of…

KC

[Kevin Cannon]

I think you’re looking at a lot of cameras that are very different. If having shallow focus is a priority, a camera like the Sony F-800 has a smaller sensor and therefore isn’t as good for that. It would be a better camera for instances where shallow focus is a problem, not a good thing.

The RED popular because it has a 35mm sized sensor so you get shallow focus, and gives you enough resolution for TV and film prints. And it’s cheaper than competing cameras, so lots of projects have started using it.

The Alexa is expensive because it also has a 35mm sized sensor, and it gives you enough resolution for TV and film prints. But compared to the RED, it does higher-quality image processing in the camera, is more light-sensitive, has other good professional features.

Digital SLRs have the 35mm sized sensor, but are usually thought to have too much compression and visual artifacts for TV and film work, and not much exposure range. A lot of the data that the sensor is capable of is compressed because the camera doesn’t process and write the data quickly enough. That said, people have succeeded in using them in feature films and high-budget TV shows.

You just have to balance price vs. quality, and really know what the issues are with each camera to shoot them best.

[Jason Jenkins]

Gerardo,

The to-be-released-next-month Panasonic AF100 might be a good choice for you. It has a large 4/3’s sensor and you can use your existing photographic lenses with it –and it will overcrank to 60fps. Price tag of $5k.

Jason Jenkins
Flowmotion Media
Video production… with style!

[Gerardo Flores]

Kevin said:
“The Alexa is expensive because it also has a 35mm sized sensor, and it gives you enough resolution for TV and film prints. But compared to the RED, it does higher-quality image processing in the camera, is more light-sensitive, has other good professional features.”

Hi Kevin please which camera you say have better light sensitive?

Regards

G

learning after effects

[Gerardo Flores]

Hello Jason

Thank you for your comment.

I have just watch your demo reel and you have a lot of beautiful footage there.
can you share with us which camera you usually use and which for some special footage…

Please Jason I got a lot of digital (mustily for canon) and analog lens.
– Which kind of lens can I use with the Panasonic AF100?

I think the Panasonic AF100 is the best choice for cameras under 10,000 USD
but do they have 35mm sized sensor or can I use it for cinema or tv works?

What is your opinion about RED one or Red Scarlet???
have you worked sometimes whit red one???
it look like RED have a very good quality and functions and if you compare them whit ARRI alexa for example the price are very difference

Regards
G

learning after effects

[Jason Jenkins]

Thanks, Gerardo. I use a Panasonic HVX200 with a Letus Extreme 35mm lens adapter. Manual Canon lenses would be great use with the AF100. Here’s a chart that compares frame/sensor sizes. The AF100 has a 4/3 sensor.
https://www.hotrodcameras.com/wp-content/uploads/2009/06/sensor-size-chart-web2.jpg
I haven’t used a RED. Too pricey for my clients.

Jason Jenkins
Flowmotion Media
Video production… with style!

[Gerardo Flores]

Hi Jason

do you know it is interesting for me that Ted Schilowitz form red said in one video
that red one became so popular because they were the first in offer the 35 mm resolution for a video camera…

Why if Canon 5D or 7D can make so nice videos why cinematographer don’t use them in a movie…
I mean I know there must be a lot of functions that a RED camera offer that a CANON 7D don’t…
but I will like to know which for you will be the biggest disadvantage to use a 5D camera in your footage instead of the Panasonic HVX200 that you usually use????

Regards

G

learning after effects

[Kevin Cannon]

Well, the RED camera company has always had a different opinion than others on what “35mm film resolution” is. A good explanation of some of the differences between 35mm film and bayer-pattern digital cameras (like the RED) is the “4K+” report by Arri: Arri Group 4K+ Systems. But yes, the RED became popular for it’s combination of resolution, sensor size, and price.

As for the 5D and 7D, some cinematographers are happy to use them in feature films; Shane Hurlbut (Terminator Salvation, We are Marshall) shot a feature called “Men of Valor” primarily on the 5D Mark II. It would be a good one to track down to see how well it compares.

Those that aren’t happy to do so often say that the rolling shutter makes camera movement and quick-moving objects feel wrong. The footage is compressed with codecs that are not suitable for intensive post-production (I think they all use the web standard h.264, but I’m not sure for all). As a colorist, I can attest that much of the shadow and highlight detail that is can be captured by those DSLRs in still picture mode is lost in compression in motion picture mode.

Since these cameras were designed primarily for photographers who need 5 or 8 frames per second, it’s no surprise that they need to make a lot of compromises to get up to 24 or 30 frames per second.

Perhaps in a few years these cameras will be capable of data rates that allow for 24, 30, or 60 frames of RAW data, and will be able to receive the sensor data without having to employ a “rolling” shutter. At that point they will be much more on par with higher-end cameras.

It’s also worth noting that high-end digital cameras have a completely different set of lenses, accessories, and support, which have a lot to do with how a film ends up looking.

KC