Gary Huff
1
COW Coin
Forum Replies Created
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[Gerry Fraiberg] “Thanks for the confirmation, Al. Guess we’ll just have to wait to see what the next version will bring.”
I highly doubt any third-party software developer is actually privy to this info.
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[Bill Bruner] “What would be ideal would be a new APS-C sensor EOS M with a real EF mount (no adapter needed), an OLED viewfinder, a swivel LCD, the moire resistance of the 5D MkIII, the dual pixel autofocus of the 70D, unlimited clip length and a headphone jack – all in a tough 7D style weatherproof body (only smaller) for less than $2000. Multiple codecs and 1080/60p would be nice too, but I’m trying not to be greedy.”
I don’t know if you’re being sarcastic or not, but I hope you are.
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[Jamie Coote] “There is far too much choice, C500 vs Epic vs Blackmagic (vs FS700). What would you go for?”
Personally, I would go for the C500 (why are you even including Blackmagic? It’s not even in the same price league at all). However, that depends on how much effort you would have to expend convincing clients that it would be a great tool for their production (trust me, they’ve heard of Red and want to use it even when it’s not the best tool for the job).
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[Bill Bruner] “Personally, I don’t see moire as a “minor” problem, so I got rid of my Canon, but a lot of people buy these cameras for video anyway.”
I see too many Canon vids with moire, aliasing, and that nasty yellow skin tone all over the place.
I have to imagine that people either don’t notice or don’t care.
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[Rick Shorrock] ” I use an Android 9 inch tablet with DSLR controller this way, and it really helps.”
Except there’s a significant amount of lag which a lot of people would not care for (myself included).
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This would be a situation in which you should test both and see which one you like most.
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[Brad Fulton] “Are the minor video problems with the camera enough that this isn’t a good deal?”
The T3i is going to have the same video from the T2i, T4i, 60D, 70D, and 7D. Only the 5D Mark III give any substantial improvement. So, yes, it’s a good deal if Canon DSLR video is acceptable to you.
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[Bill Davis] “With all the stuff everyone keeps saying is still “missing” in the professional X workflow, I wonder what sorcery they used to get their HD Program onto the XDCAM HD disk and off to air that fast?”
Probably via Compressor…but then we’re just guessing because (a) we don’t know fast “that fast” is, and (b) it doesn’t say anything about getting it into XDCAM HD, it’s just a blurb on the side.
I don’t think there’s an “innovative” SEND TO XDCAM HD DISK function.
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No of that in no way invalidates my point. First of all, what did JJ mean when he said, “24fps”? Playback? Transcoding to ProRes HQ? Because if it’s just playback, then whoopdeedoo. If it’s transcoding, that’s fine, but it’s still real-time (more or less, not counting slo-mo), and I said “serious”…yeah, it’s nice when you can start your transcode and leave it while you go off and do something else, but when you’re on set and everyone’s waiting to go home while you transcode the last full mag that got dropped off to your station right after wrap, then 60fps vs 24 or less starts to look damn good.
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[Bernard Newnham] “and ask them to explain themselves in depth.”
Bernard, they just get insulted when you ask that…mostly because they realize you are implying that they are full of it (which they usually are).