Photography versus Video at Weddings

Categories: Miscellaneous 3 Comments

How true this is… the amount of times I came up against a balshy photographer with attitude at weddings was becoming intolerable, there is no need for it it’s just damed right un-professionalism.

When it comes to recording someones wedding no one has sole rights over the other no matter how much the photographer thinks they are top dog, bad attitude photographers are the bain of the wedding industry and I have seen it from both angles.

DSLRs do not help as the photographer who is a notably suspicious creature at the best of times will not be happy when you turn up with your HD DSLR.

Weddings are stressful enough without having a fellow professional acting the goat, on the whole I got on really well with photographers and always introduced myself from the minute they arrived.

This video kind of tells the story from both sides but the poignant part for me is the stepping in front of the camera, deliberatly spoiling your shot, I had a female photographer do this to me once and I took her aside and told her in no uncertain terms where her camera would go if she ever tried that trick again, she was frosty after that but we knew where each other stood…not in front of each others shot !

We have a wedding photographer in Glasgow who insisted there was to be no “video-man” at the wedding and gave the couple an incentive of £200 discount from his £2000 package for doing so, this un-beknown to him was doing us a favour as no one wanted to work beside him, his photography was very good but attitude was a joke. If on the occasion he had to suffer the “video scum” he would insist on taking the bride and groom to a park, himself, for 2-3 hours, then on delivery of a very scratchy bride by this time and an even more irritated reception manager things were put on fast forward as we were now well out of time.

A modern solution is to produce a complete package pics and DVD then you get a team of professionals working from the same hymn sheet. You can’t win in the wedding video game I once worked with a photographer who used to film for Sky News and he would also try to dominate the wedding.

You have to put yourself into the way the photographer thinks to understand why they think as they do. It’s about exclusivity, getting the next MPA winning wedding shot and you don’t get such pictures if you have a distraction tagging along (video).

Most of the pains in the ass I came up against and there were only about half a dozen were high flyers, photographers with portfolios and competitions in mind and the video was a distraction no matter how professional you were.

I have not produced a wedding DVD for over 7 years now and I don’t miss it one bit in fact I have taken more photographic weddings since concentrating on corporate video production. I have that inner knowledge that sees it from both angles but in my books there is a place for both disciplines, who cares if the video is filming over your shoulder, he is moving and I am still…what’s the problem !

For all your video production needs in Scotland, get in touch with Small Video Productions

Are Canon trying too hard to impress Holywood

Categories: Miscellaneous 6 Comments

“So expensive! It’s a kind of 5DmkII with ND filters, XLR input and headphone output. Nothing revolutionary.”

“So we’re on the brink of an unprecedented global recession and a possible meltdown of the whole financial system, and Canon decides now is a good to release a couple of 50 grand zooms to go with thier “affordable” new camera good luck with that one…”

I received these heartfelt comments from a couple of regular readers this morning who put many betrayed Canon DSLR users thoughts in a nutshell, not forgetting those of us who were looking for an alternative to the Sony and Panasonic large sensor camcorders. Most of what I predicted last week has indeed come true but for one prediction…”A sub £6K EF model”

Don’t get me wrong this C300 is very sexy but spec wise it’s lame in comparison with the competition…8bit is a very poor starting point for a camera of this magnitude like all other camcorders in it’s class it does output 10bit from the HD-SDI socket but once again whats the point in giving us 50Mbs 4:2:2 on board if you are going to resort to a NanoFlash to get that extra all important 10bits from the back end.

I really feel so sorry for the millions of film makers who were so hoping that Canon would solve their problems with a camera fit for purpose at a price they could afford, not forgetting the fact that as yet no one can use Canon EF glass electronically on any large sensor camcorder thanks to canons decision a few years back to make EF lenses fully electronic.

The EOS C300 is nothing more than a medium format 5D with all the hassle taken out and a smaller sensor !


Photo courtesy of www.engadget.com

The other side of the coin is that Canon R&D were very reluctant to go with having HD video tagged onto their 5DMk11 at the beginning and it took Chief exec. Masaya Maeda all his efforts to convince Canon to run with a dual purpose camera…the rest is history.

I personally think Canon has by-passed it’s loyal followers who as a collective have made the company what it is today, by ignoring their needs and concentrating totally on the wrong end of the marketplace, with a camera that by Vincent Laforet’s own admission is flawed by needing a Zacuto Z-finder EVF to see critical focus.

We were all expecting a sub £6K large sensor camera that would finally plug the gap for the majority of people wanting to make a step up to a film like camera that takes EF glass instead we get a £15K 8bit camera that once again suffers from a poor viewfinder probably due to lack of space…what more can I say.

Will it affect the Sony PMW-F3 which is the market the C300 is aiming at, initially but Sony have a very loyal customer base and Sony will possibly reduce their S-Log upgrade or make it free to new customers who knows but you can be assured the next incarnation of the F3 will not only start at 10bits but will be 50Mbs or higher and have a viewfinder fit for purpose…you mark my words.

For all your video production needs in Scotland, get in touch with Small Video Productions

NEW Canon EF and PL mount glass pricing

Categories: Miscellaneous No Comments

Pricing and availability 
Both the Canon CN-E14.5–60mm T2.6 L S (EF mount) lens and the Canon CN-E14.5–60mm T2.6 L SP (PL mount) lens are scheduled for late January 2012 availability for an estimated list price of $45,000 each.

The Canon CN-E30–300mm T2.95–3.7 L S (EF mount) and Canon CN-E30–300mm T2.95–3.7 L SP (PL mount) lens are scheduled for late March 2012 availability for an estimated list price of $47,000 each.

Single-Focal-Length Cinema Lenses for EF Mounts

CN-E24mm T1.5 L F / CN-E50mm T1.3 L F / CN-E85mm T1.3 L F *
Like their wide-angle and telephoto cinema zoom lens co-stars, Canon’s new CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F cinema lenses deliver 4K optical performance. The three lenses, designed for use with EF mounts, are compatible with not only industry-standard Super 35 mm-equivalent cameras, but also 35 mm full-frame, APS-H and APS-C sensor sizes. The trio incorporates anomalous dispersion glass and large-diameter aspherical lenses for high resolution imaging throughout the frame, and features a newly designed 11-blade aperture diaphragm for gentle, attractive blurring.

With focus and iris markings that are easily visible from behind the camera, Canon’s three new fixed-focal-length lenses support convenient film-style operation and, offering a focus rotation angle of approximately 300 degrees, facilitate precise focusing performance.

The CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions, eliminating the need for adjustments when switching lenses.

Pricing and availability 
The Canon CN-E24mm T1.5 L F (EF mount) and CN-E50mm T1.3 L F (EF mount) lenses are scheduled to be available in late July 2012.

The CN-E85mm T1.3 L F (EF mount) lens is scheduled to be available in late August.

The Canon CN-E24mm T1.5 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E50mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E85mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800.

For all your video production needs in Scotland, get in touch with Small Video Productions

Specs for the NEW Canon EOS C300

Categories: Miscellaneous 1 Comment

4K EF Cinema Lens Lineup

Canon’s Cinema EOS System makes its Hollywood debut with an all-star cast featuring seven new 4K EF Cinema Lens models: four zoom lenses covering a wide zoom range from 14.5 mm to 300 mm-two models each for EF and PL lens mounts-and three single-focal-length lenses for EF mounts. All seven new lenses deliver exceptional 4K (4096 x 2160 pixels) optical performance and offer compatibility with Super 35 mm-equivalent sensors. Additionally, the three single-focal-length lenses can be used with cameras equipped with 35 mm full-frame sensors.

EOS C300/C300 PL Interchangeable-Lens Digital Cinema Camera

The Canon EOS C300/C300 PL is an all new digital cinema camera available in two models: the EOS C300, equipped with an EF lens mount for compatibility with the wide array of lenses that make up Canon’s current interchangeable EF lens lineup; and the EOS C300 PL, offering a PL lens mount for use with industry-standard PL lenses. The camera features a Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor ideally suited for digital cinematography.

New Digital SLR Camera with 4K Movie Function (Under Development)

Equipped with a 35 mm full-frame CMOS sensor and supporting the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), the next-generation digital SLR camera currently under development will enable exceptional image quality for the creation of innovative and expressive images. Additional details, including the product name, specifications and scheduled launch date, have yet to be decided.

Key features

  • 8.3 Megapixel Super 35mm Canon CMOS sensor optimised for high-quality Full HD imaging
  • Compatibility with Canon’s wide range of EF lenses (C300)
  • Compatibility with industry-standard PL lens mount (C300 PL)
  • Three built-in ND filters
  • Compact, modular design. Lightweight 1669g (C300)/1869g (C300 PL) body only
  • Broadcast-ready 50Mbps MPEG-2 MXF (4:2:2) recording to two CF cards
  • High sensitivity: low noise images at up to ISO 20,000
  • Extensive image customisation, including built-in Canon Log Gamma
  • Robust, splash-resistant body with magnesium alloy components
  • PAL, NTSC and 24.00p modes as standard. Slow/fast motion adjustable in 1fps steps
  • WiFi remote control shooting capabilities
  • Seamless workflow integration

Please click here to take a tour around the C300 and C300 PL Digital Cinema Cameras.


* Cropped to APS-H-equivalent size (dimensions measuring approximately 80% vertically and horizontally of a 35 mm full-frame sensor) when recording in 4K.

Cinema EOS System: Product Overview
Product category Model Mount type
EF Cinema Lenses CN-E14.5-60mm T2.6 L S EF mount
CN-E14.5-60mm T2.6 L SP PL mount
CN-E30-300mm T2.95-3.7 L S EF mount
CN-E30-300mm T2.95-3.7 L SP PL mount
CN-E24mm T1.5 L F EF mount
CN-E50mm T1.3 L F EF mount
CN-E85mm T1.3 L F EF mount
Digital Cinema Cameras EOS C300 EF mount
EOS C300 PL PL mount
Digital SLR Camera (under development) TBD EF mount

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Scarlet-X starting price $9,750

Categories: Miscellaneous 4 Comments

With the innate ability to capture 5K REDCODE RAW stills and 4K motion, resolution sustains itself as a dominant gene in the RED family. Scarlet-X functions as a flexible device, utilizing HDRx and interchangeable lens mounts to provide you with options in a world that’s always changing. 5K burst modes snap up to 12 fps with 4K reaching up to 30 fps – helping you capture every perfect moment. All of the finest qualities of cinema and photography have now aligned, letting you take advantage of the best of both worlds with Scarlet-X.

For all your video production needs in Scotland, get in touch with Small Video Productions

NEW Canon DSLR “C” type for filming with 4K

Categories: Miscellaneous No Comments

Canon has more on the way from its newly launched EOS Movies lineup than just the C300, as shown by this new prototype DSLR. Promised to be “ideally suited for cinematographic and other digital high-resolution production applications” this camera packs a 35mm full frame image sensor capable of shooting Motion-JPEG encoded 4K video at 24fps. The press pics show it fitted with both EF 50 and new Cine 24 (as shown above) lenses, as Canon looks to blend the success of the 5D MK II with RED-rivaling video capabilities. The director of House shot an episode on that camera already and called it the future, which appears to be arriving sooner rather than later. Don’t expect to hear anything about a name, price, or release date any time soon.

The camera was shown on this slide during the Canon event and caused a stir so much so Canon had to admit it’s existence.

 

 

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Behind the scenes of Vincent Laforet’s Mobius shot on the Canon C300

Categories: Miscellaneous No Comments

For all your video production needs in Scotland, get in touch with Small Video Productions

Scarlet announcement from RED or NOT “Poor Show”

Categories: Miscellaneous 1 Comment

Sadly our second cinematic camera from RED was not to be as this was the screen that confronted me when I clicked onto REDs web site and the REDUSER won’t even open…If you are going to make a serious announcement the least you can provide is decent bandwidth to accomidate everyone…POOR SHOW !

 

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Two new cameras…”My thoughts”

Categories: Miscellaneous 7 Comments

You now have a further 2 cameras to choose from, the Canon EOS C300 and the Scarlet-X from RED. Scarlet for me has been the biggest let down not for anything other than their promise over 2 years ago that this would be a sub $5K camera and it’s now closer to $10K almost twice the price.

I did not know what to expect from Canon but recent reports have this camera now at $20K rather than the $16K which is now dearer than the current price of a Sony F3.

You have got to hand it to Canon it looks sexy and after seeing some of the short films Canon commissioned the EOS C300 certainly performs well.

One chap emailed me telling me that he had just ordered his Scarlet and that he hopes to have it within a YEAR…sorry but that timescale for a camera delivery is quite frankly unacceptable, who knows what will be available in less than a years time. I have since been informed we are talking a lead time of about 2 months for delivery.

“Ordered one today…hope it will be delivered within 12 months. Price for Scarlet-X with Canon AL Mount is $9750. PL is $1500 more Body ONLY!

Both Sony and Panasonic must be wiping their brows that Canon did not bring out a sub $6K camcorder so the AF101 and the FS100 are safe for now, Canon in my opinion missed a trick by not satisfying the majority of their cinematic community who all own EF glass and are looking to migrate from 5D2s to a camera that would take their EF glass.

They did give the DSLR crowd one hope by showing the EOS C DSLR, probably a 1DX with the badge replaced, this may satisfy the sub £6K Canon crowd as long as it’s more “video” and less photographic. This camera is still in it’s infancy so don’t go thinking it’s due anytime before the summer of 2012.

Two major surprises from the Canon camera…8bit and no 1080 50p, the 8bit is rather dissapointing for a camera of this magnitude as for the lack of 1080 50p it’s down to the fact that people will be using this in 24 and 25p mode for that cinematic look.

The “movie” glass will be superb and the prime lenses with the 24mm and 50mm at T2 (f2.0) will be very coveted by the cinematic community, no pricing as yet but I suspect will be nearer the PL prices.

Once again a small form factor that will not appeal to DPs that are used to working with ARRI cameras, shoulder mounts etc. Japan seems inherant on producing film like cameras that are not much bigger than a DSLR rather than spreading the load on a body that would have less finnicky switches and not look so stupid using bigger zoom lenses.

Canon could have made the C300 more user friendly with the EF lens by incorperating their auto focus capabilities, not for AF but for pull focus but then did they email me for advice !

Avid made a major blunder coming in on the 3rd of November to announce Media Composer 6 let alone the cost of £1799, present AVID users will get an upgrade for about £300 so if nothing else the AVID community will be happy.

Canon hope to start shipping late January 2012 while RED hope to ship Scarlet on November/December 2011.

More importantly will they sell, the Canon C300 looks the part, performs fantastic and will certainly have it’s followers, it may not hit the top ten best selling list but every rental house will take at least 2 cameras to start the ball rolling. The Scarlet on the other hand is the first on the ladder of owning a RED camera which has a steady following of cameramen/women and with a lead time of about a month as from last night (3 rd November) it will be interesting to here how users get on with their purchases.

I read this from Philip Bloom this morning and was rather surprised by his comments about his RED EPIC.. “I love my Epic but have had hideous reliability issues with it. Will RED carry on with having BETA firmware in the Scarlet or will they make it more stable. At the lower price point they are going to ship more so it will need to be. I expect the C300 will be super reliable straight out of the starting block”

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“EOS C300” 1st live picture £10,000 for non PL version ?

Categories: Miscellaneous 21 Comments

  • Single 8.3 megapixel 2160×3840 Super-35 CMOS sensor (4K resolution) with Digic DV III processor
  • Canon XF codec (50Mbps 4:2:2 1080p30 MPEG2 MXF) records to two Compact Flash card slots
  • Canon Log gamma, SDI, compact body, Custom Presets and menus similar to Canon XF series
  • Exposure and focus control are completely manual — there is no AE or AF on either camera
  • Sold as a system, incl. LCD monitor / XLR audio unit, side grip, top handle, batt. & charger
  • Availability: Jan. 2012; Price: appx. $16,000 USD (for C300) and $20,000 USD (C300 PL)

The rest of the Cinema EOS system includes Canon’s own high-end cinema zoom lenses… first their two zooms, the PL-mount versions of which were previously announced and exhibited earlier this year back in April at NAB2010. All resolve to 4K:

  • Canon Zoom Lens CN-E14.5-60mm T2.6 L S (wide zoom, EF version)
  • Canon Zoom Lens CN-E14.5-60mm T2.6 L SP (wide zoom, PL version)
  • Canon Zoom Lens CN-E30-300mm T2.95-3.7 L S (telephoto zoom, EF version)
  • Canon Zoom Lens CN-E30-300mm T2.95-3.7 L SP (telephoto zoom, PL version)

And three yet-to-be-released primes, all resolve to 4K but all are EF-mount only:

  • Canon Prime Lens CTZ-029 (24mm)
  • Canon Prime Lens CTZ-030 (50mm)
  • Canon Prime Lens CTZ-031 (85mm)
This is Canons dig at the Sony F3 and by all accounts it will have a major impact on the F3 sales but for us mere mortals this £10,000 camera is directed at broadcast cinematography like dramas etc.
HDW…It’s a wee bit of a letdown that Canon did not entertain the £5K market with a cut down version we were told there might be 2 versions but I was not expecting a £10K plus a dearer version.
My thanks to engadget for their fantastic coverage.   http://www.engadget.com

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