Here's confirmation of what I have been saying here for a while. Zone plate tests from Red.
A good comparison between the 7D, F35 and Red M-X.

How much does this aliasing matter is the question. If you're shooting low detail images with shallow DOF maybe not at all. However not everyone wants that outdated look and then they run into serious problems with horrid footage.
Combine that with equipment failures from overheated cameras and the high risk of simply loosing footage from cooked CF cards and this is not the easy, risk free street you might think it is.


Bob.

Great stuff!

Did anyone notice the dead pixel in the middle of the screen on the theater shots?

"Did anyone notice the dead pixel in the middle of the screen on the theater shots? "

No, my eye was naturally enough drawn to all the nice boobies :)

The problem is though that the hardware and software used to process images isn't red blooded, it doen't know a booby from anything else. If there's certain technical problems in an image by the time it's processed the audience may have problems seeing if they're boobies or if the woman is cuddling two piglets and then you have a problem.

After a lot of head scratching and a bit of experimentation I think I've finally cracked the problem of how to get what I thought was damn fine looking HD to keep looking good depsite YouTube's efforts at turning it to mush when downscaled to their 360p. It did involve a bit of not being wowed by the content and instead looking hard at the defects my processing was introducing that were going to get worse once YouTube got hold of them

Bob.

DSLR Video is the flavor of the moment. Anyone who thinks it's trouble free need only read forum after forum discussion threads about how to ingest the highly compressed footage into something more manageable.

I'd much rather use a lens adapter on a video camera than deal with all the hoop jumping required to get the" uber cool" shallow DOF. It's but one tool that's already been beat to death by over use of said shallow DOF being used for everything.

Off soapbox now...

Cliff Etzel
Solo VJ : Web Designer
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Whoa... I NEVER said it was EASY!

It's a pain in the butt, for sure.
It's so like the old days with 35mm, critical focus, exact exposures, no auto-anything...
but call me old fashioned (I guess you already have) - I love the control that this camera gives me.

No way is it "run and gun" and NO WAY is it forgiving.
And getting sound from the location to the finished video will give you nighmares - but it's my favorite camera (for now).

v

"DSLR Video is the flavor of the moment."

Not hardly.

It's more of a transitional technology. We will see more video-centric hybrids to come that will be much easier to work with. But if you want to use your cumbersome and expensive video adapter, that's your prerogative.

There's more to this than just the addition of an adapter.

How can you compare the image taken off of a spinning ground glass, onto a 1/2" sensor with that of a 1 1/4" sensor utilizing high quality $1,000+ lenses - directly to that sensor?

You can't - the proof is on the screen.

That video ( the one I listed at the top of this post) is being reviewed by top pros in the industry. They are not looking at some adapter. They are seriously comparing the digital footage to 35mm film.

It's the first time I've ever seen an audience of this caliber even considering that kind of comparison.

RE: your resolution tests - concentric circles?? C'mon - that sort of pixel peeking - while absolutely relevant at a certain level can't compare with a side-by-side test like this one:
http://blog.planet5d.com/dmc

The larger sensor simply "matters". And the end result is all that counts.

This is the "real deal". It's a stepping stone to what will be coming shortly - that is, a large sensor VIDEO camera. But meanwhile the final product is spectacular.

BTW - I have now shot about 100 hours of working professional footage - primarily national commercials - with the 5D. It's been left on all day and shot with the usual tv commercial sort of workflow. I just got back from a 3-camera shoot in the Florida sunshine. While it wasn't "roasting" it was hot.

I have had no problems with overheating or CF meltdown. Everything just sort of works the way it's supposed to. Just make sure you're in focus, and your exposures are right.

Can't really comment fully on the sound issues yet however, as I haven't done a LOT of synced sound. Actually, right now, I'm double system shooting, recording into a separate sound recorder, and using a slate. There are other methods, I know (including the most amazing "Plural Eyes" auto-sync software), but since these are paying gigs - I can't afford to experiment with the "unknown". In testing it worked... sort of. Not sure whether the problems were inherent in the software or with the user (me). Still working that part of the equation out.. I have upgraded the camera to the latest sound system (48kz) with settable levels, but it's klutzy to say the least.

And the camera doesn't even have an earphone jack - impossible to say the least. But it's like dating a beautiful woman... you make your adjustments and enjoy the ride.

v