EDIT: Next batch will go on sale Tuesday at 11am Eastern USA time and 9PM Eastern USA Time! Sorry these are in so short supply but demand is huge and each one is handmade. Kessler Crane are looking for new factories to help make more but quality is paramount. The add to cart option goes live at the Kessler Site here at the above times.

Philip Bloom Signature Series Pocket Dolly Overview from Philip Bloom on Vimeo.

Kessler Crane Philip Bloom Pocket Dolly Review from Chris Weatherly on Vimeo.

The 3 foot version

Honestly, I find this hard to believe myself, but I actually have had a piece of gear made to my specifications and being sold with my name on it! Blimey! I am a very humble guy and am utterly flattered that this has been made! I cannot thank Eric Kessler enough! Although doesn’t a Philip Bloom Pocket Dolly sound a bit wrong and kind of blow up? Not that I could imagine anyone EVER wanting one of those (apart from my cats?!)

So…finally after much teasing, the “Philip Bloom Signature Edition” Pocket Dolly is out for sale, both in 2 foot and 3 foot versions…and before you ask, yes I can write and that is my actual signature not some font (which a lovely lady friend said she liked the dolly but didn’t like the font! )

With the advent of DSLRs shooting video, sliders have become an essential part of any filmmaker’s kit. The ability to do small dolly moves can make your shot so much more cinematic.

I have been using various sliders for almost two years and none of them ever fulfilled my needs completely. Too heavy, not smooth enough etc…

The Kessler Crane Cineslider has been by far the greatest slider I have ever used with two downsides for me. The size and weight. I fly a lot and it is simply too big without its own case, and it needs support on either end ideally or a heavy duty tripod. I often use lightweight tripods and wanted the design of the Cineslider combined with the weight of the Kessler Crane Pocket Dolly. The Pocket Dolly V2 is a superb dolly but I personally missed the features of the Cineslider.

With a 16mm Bolex on it!!

The 2 Foot version

This is the best piece of kit I have ever used and I am incredibly proud for it be the first piece of gear to ever bear my name!

It is completely compatible with the Elektra Drive and Oracle motorised system. Simply remove the drag control and fit the motor on exactly as you would do with the Cineslider.

This slider is SERIOUSLY smooth, I call it a “one take slider”, you only need to do the shot again if you cock up, not the gear sticking on you!

It comes as a kit only with the outrigger feet, lovely case, dolly 2 foot or 3 foot and the flat head tripod adaptor. Both the 3 foot and 2 foot are $995 intro price, then it’s $1,095 after the first 12 have gone…I LOVE this dolly.  Yes it is more money than the Pocket Dolly V2 but it is essentially a lightweight Cineslider with all the perks of that model and then some, you get the outrigger feet and head mount too. The dolly is also tested for completely smoothness to a 100 feet using a laser for pinpoint accuracy.

Measuring tape for use with elektra drive and oracle motorized system

2 nights in Mallory Square from Philip Bloom on Vimeo.

Shot on the Canon 5D MK II to test out the Kessler Crane Pocket Jib and the new special Philip Bloom Pocket Dolly.
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Filmed over two evenings at Mallory Square in Key West, Florida

Finally!!

The first narrative feature that I have ever worked on. Lucasfilm’s “Red Tails” trailer was released on line today. I was the re shoot second unit  DSLR DP on it using Canon DSLRs and also camera C for the reshoots on the 1st unit. Check out my blog post about it here!

It was a fantastic experience, overwhelming at times. So looking forward to seeing the finished movie. Got my own movies to DP soon this year. Two of them including the sure to be Zombie masterpiece “Invasion of the note quite dead!”

It looks like a lot of fun and a fair few of my shots are in the trailer! Bet you can’t spot them! I’m not going to give exact timecodes. Just let you sit and wonder! (Clue…2nd unit means action shots)

Enjoy!!

Also check my short film “Legends” at the bottom of this post, which helped me land the gig and of course my Skywalker Ranch blog post which was the film that I shot in a day at cut the next morning and played on the big screen to George Lucas, Rich McCallum and Quentin Tarantino (!) that convinced Lucasfilm that Red Tails could use DSLRs!

Oh…do download the 1080 HD version and stick it up on your biggest screen. LOOKS AMAZING!

Behind the Scenes on Lucasfilm’s Red Tails with the Canon DSLRs from Philip Bloom on Vimeo.

Legends HD from Philip Bloom on Vimeo. Shot on EX3 and Letus Ultimate

Oh and if you are wondering about my imdb credit. That will be down to union rules am afraid…oh well!!

I have been using Nikon DSLRs longer than I have Canon ones. I shot my first DSLR video with the rather poor video function of the Nikon D90. I have bought the D3s for its (still not beaten) low light video function, the D7000 and D5100 and been disappointed each and every time. But I am very optimistic this time.

I know I am late to the party in writing this blog post, but work has gotten in the way. I have been shooting in Dubai for the past ten days and had very little free time. So it’s catch up time. I won’t go into all the things it does, especially with stills. I am interested in video and below is what excites me. I am hoping to get some time with the camera in the next two weeks so I can report back on if it’s good or not. I have also not had any time with the new Canon 1DX which also looks interesting. Love to try that too!

It’s the first full frame DSLR with full HD video from Nikon AND it also can crop in video mode to 1.5x or 2.7x. If this is implemented without image artifacts, this could be incredibly useful. Given us three different focal lengths off of one prime. Very useful for fast doco shooting that I do.

This is what excites me…

We are promised next to none of that nasty moire and aliasing we all hate from DSLR video.

A HEADPHONE JACK! I know, basic, but this is the first time there is such a crazy science fiction feature on a DSLR! Finally we can monitor the audio we record. Basic, but HUGE!

Clean 8 Bit 422 out of the HDMI. No more H.264 nastiness if we don’t want it. Couple it with an AJA KiPRO mini, Atomos Samurai and away you go. A first for a DSLR. BUT I understand you cannot record on the CF cards at the same time. One or the other.

Incredible low light performance due to the reasonable MP count. This should be better than the D3s which was usable at 50,000 ISO!

So I have not shot with it or seen it yet, hopefully I will very soon. As soon as I do I will report back. Below is Dan Chung’s video of Nikon’s James Banfield going through the camera and an official D4 video from Nikon which looks terrific!

EDIT: PART 1 is now live! I decided to break it down into two parts as it’s too damn long! I will start editing part 2 tomorrow, it will be up within the week hopefully. 

I would like to have included the Scarlet but as I didn’t know anyone in the UK with one and the unfortunate behaviour of the minority who feel it’s OK to be as nasty as possible, it is not included. Sorry! Am sure the next Zacuto shootout will include it!

Huge thanks to Paul Joy of PaulJoy.com, Suresh Kara of Documovie.co.uk, Joel Conder of JoelConder.com and Suresh Kara.

Also thanks to Nick Millen of Canon UK for supplying the C300 for my full review which you can see here. 

Remember this shootout and it’s results are to be taken with a pinch of salt. Real world, unscientific, lots of variables. Never base a camera purchase on things like this. Research in loads of places and try and get your hands on one!

Kind of hypocritical to say this as this whole shootout is about it, remember pixel peeping will make you go blind and give you hairy palms!! Shoot with the camera you have/can afford! There is a lot more to filmmaking than pixel peeping!

I have not been paid to do this, it was done because I wanted to see this and I am sure you did too. If you want to thank me for all the hard work I have done in making this then please consider donating to the “Make a wish” foundation who grant magical wishes to children with life threatening diseases. Such a wonderful charity, even more so at this time of year. This is the UK one but feel free to donate to your local one!

Picture profiles used:

Sony NEX5N, Flat PP

AF100 RANGE PP

C300 C-LOG

GH2 Driftwood Hack nostalgia and dialed down

5Dmk2 Marvels Advance

7D Marvels Advance

FS100 G-LOG A

F3 AB-RANGE

F3 S-Log

Nikon D7000 Flat

So interesting results from Part 1. Bang for buck the clear winner was the Gh2 with the Driftwood hack but this is purely on resolution. The F3/ C300 are damn close to each other and the FS100 not far behind. Part 2 moves onto skin tones and low light where the camcorders come into their own. I also take a look at how well each of the internal codecs hold up to colour correction and grading.

Orignal Post:

Tomorrow for shits and giggles myself, Paul Joy, Joel Condor, Sarah Estela and Suresh Kara will be pitting various cameras against each other in yet another one of my “legendary” real world shootouts!

The reason this has come about is Canon UK have kindly loaned me a pre-production C300 for a week. I will be doing a full on review and taking it over to France to Mont St Michel to shoot with it there. Just one of my beauty pieces. But a great challenge, as much of it will be at night so let’s see how good this low light is! There will be an accompanying on-camera and written review!

In the meantime I wanted to get this done as I myself want to see this, and I am sure many of you will too!

So what cameras will we be using tomorrow? Here they are!

Why these cameras? Well they are mine so it’s easy for starters.

C300 of course as it’s the catalyst for this test, F3 (with and without Slog) as this is the best camera in its class, the FS100 as it’s the budget F3, the AF101. DSLR wise, the 7D for a change rather than the 5DmkII as it has a similar size sensor to Super 35mm, the Gh2 with AVCinta Driftwood hack and the NEX5N. I had to draw the line at which cameras to do with just a short winter’s day to do it in. The 7D may not be the best low light Canon DSLR (that is the 1Dmkiv) or be full frame (5dmk2) but it generally represents the quality of the Canons pretty well!

EDIT:

For the resolution test I used the 7D, GH2, NEX5N, D7000, FS100, AF101, F3, C300

For the skin tones test I used the 5Dmk2, 7D, GH2, AF101, NEX5N, D7000, FS100, F3, C300

For the low light I used the 5Dmk2, 7D. Gh2, NEX5N, FS100, AF101, F3, C300 (we forgot to do the D7000! Sorry!)

So this will be an evolving post, so do check back especially if you are on RSS as it doesn’t update!

Two frame grabs from the C300 below, one from the hacked GH2

The outdoor shots we had on C-Log gamma curve but the not the most neutral profile. This was accidental but it still looks good. For the shots after that it was on C-Log but cinema locked which gives it a flatter image. Sharpness and resolution where not affected.

C300

Gh2 Driftwood Hack 70mb/s

Skintone test…which camera is which?! Please ignore the web compression of the JPEG…just look at the skin tones…Lens was a Nikon 80-200mm F2.8

Remember these are NOT graded. Once graded, I could make them match pretty damn close…Which ones do you prefer and can you guess which is which?!

EDIT: Someone in the comments got in right!

Sony NEX5N, Flat PP

AF100 AB-RANGE PP

C300 C-LOG

GH2 Driftwood Hack nostalgia and dialed down

5Dmk2 Marvels Advance

7D Marvels Advance

FS100 G-LOG A

F3 AB-RANGE

F3 S-Log

Nikon D7000 Flat

Number 1

Number 2

Number 3

Number 4

Number 5

Number 6

Number 7

Number 8

Number 9

Number 10

EDIT: Fantastic news. The finished movie won Best Documentary and Mass impact award at the Boston Film Festival. A massive boost for the film. I couldn’t be happier. Well done Ruaridh Arrow the Director!

EDIT: It’s also just won Best Documentary at Raindance!!

2 years ago in Boston I shot the bulk of a documentary on Nobel Peace Prize nominee Gene Sharp. This film is now finished and premiering at the 27th Boston Film Festival on the 18th of September then will be part of the Raindance Festival in London on the 2nd and 3rd of October.

Blog from May 29th 2009. This was shot in my first month of owning a Canon 5DmkII, so I wasn’t using it for the bulk of the filming. I was still using my EX3 and Letus Ultimate.

From wikipedia:

Gene Sharp (born 21 January 1928) is known for his extensive writings on nonviolent struggle: he has been called both the “Machiavelli of nonviolence” and the “Clausewitz of nonviolent warfare.”^[1]

Sharp is a political scientist, professor emeritus, and founder of the Albert Einstein Institution, a non-profit organization which studies and promotes the use of nonviolent action in conflicts around the world.

Working with producer/ director Ruaridh Arrow, I am making a documentary on current Nobel Peace Prize Nominee Gene Sharp.

I have to plead ignorance and didn’t know of his work until I was approached for this gig, and he is an amazing man to be around, very kind, zen like and incredibly intelligent. A fascinating man whose life should have been documented well before now.

I wanted to share with you some black and white screen grabs from the Canon 5dmk2. Most of it is being shot on the EX1 and Letus, especially all the talking heads. But the more stylized shots and the other B-roll is being done on the 5dmk2 which is very new to me. It gives me the freedom to take down my lights, use available light and work REALLY fast, knocking of shots really quickly. It’s a great combo, I just wouldn’t do the whole thing on the 5dmk2 mainly due to the sound and recording length limitations. Oh and the 30p….which of course means I need to convert all my lovely footage to 25p, most likely in compressor.

Anyway, below here are some frame grabs from the footage in black and white from the 5dmk2. Love that image!

I have one and a half days of filming before I go home…it’s been great. It’s also been wonderful meeting so many people I just know over the internet at my first ever “Meet up”

Big old day in the camera world, I don’t think I have seen so much thigh rubbing by so many camera geeks and the twitter feed has been hilarious (not forgetting a badly timed new version of AVID announced today!) Canon disappointed many by not releasing a kick-ass printer …instead we have their much anticipated S35 camcorder. The C300. We also have a concept 4k video shooting DSLR and the new version of the RED Scarlet! Phew.

So what do we have? First off…The C300. It’s a lovely looking camera. I like small cameras. Easy to travel with, easily pimped up to configurations you want. The idea of a brain for a camera is becoming more and more common although this is not quite that.

Here it is above with one of the smashing new lenses (these new lenses look amazing…more on those soon)

So what do we get. Well…internal 422 Canon XF 50mb/s codec. A flat log setting in there too by the way. 4k sensor but only captures 1080p. Capable of overcrank BUT only at 720p. Also only 8 Bit SDI out. Both rather disappointing to be honest. I really had hoped for 1080p 60p as both the FS100 and AF100 have it (although the F3 is also 720p) There is a PL version or an EF version. I don’t know if you can switch mounts. Be great if you could.

Now the key thing for me is how is it to operate and what are the images like. I have not touched it or shot with it so these thoughts are PURELY on specs and price.

First off let’s talk about the market. We have the DSLR crowd who have invested heavily in EOS lenses. We have users who have upgraded to get better audio and less image users to the more expensive but still relatively affordable FS100 or AF100 and then we have the F3 which is priced much higher around $13k with some good and some not so good specs.

Canon have put the list price of the C300 at a whopping $20k. Now of course this is *list* so it will be cheaper. They are going for the F3 and higher market and I can see why…although they have never had a camera in this price bracket before or at this level so it’s bold as hell. Personally I want to see a camcorder at the price bracket of the FS100 as so many DSLR shooters would be SO tempted by a $5000 EF touting S35 camcorder that takes their lenses even at the cost of a lower codec. That is where the DSLR market wants to step up to next. Not a $20k camera. Of course that is NOT what they are going for. Just saying. For me I feel this is a market they should be going hard at.

Oh, it ships in Jan 2012.

I will add to this later. But in meantime these are my summary thoughts…so far. Nice looking cameras. Nice on board codec, great for docs. Takes EF lenses without waiting for a never to ever come out Birger adaptor (although I heard no AF support? Surely not true!) Too much money. Sorry, I think it is. Especially with the competition out there. BUT I cannot wait to shoot on it and I may be convinced! Oh and one other highlight. Vince was looking super slick at the press event. I need the number of your hairdresser sir! Will go well with my mo!!

Check out the Mr. LaForet directed video, shot by  Polly Morgan “Mobius”

Mobius – 1080p HQ from Vincent Laforet on Vimeo.

Mobius :: Behind The Scenes from Blake Whitman on Vimeo.

Canon took a leaf out of the Apple book and did a one final…oh we have a new DSLR 4k video shooting concept camera we are working on….Now that is very interesting as is full frame…BUT for it record 4k it goes to a 1dmkiv style APS-H crop. But still pretty good. Read more here. The thing is the word “concept” always means don’t expect it soon!!!

RED also chose today to bring us the Scarlet X. As expected they have dumped the 2/3″ chip as “not being good enough in today’s market” and are now using Epic chips which were not passed for use in the Epic (not sure if this is correct as their site is down and getting this off of twitter. Will correct when I have more info!).

So Jim Jannard has given us these interesting specs and it’s shipping dates (this is key as this camera has been coming for quite some time now, my grandfather told me stories about it when I was a nipper and sat on his knee!)

So this is what we have as far as I can tell…5k at 12fps max, 4k at 30fps max, 3k at 48fps max, 2k at 60ps max, 1k or 120fps max. Interesting…Resolution is good, although substantially capped…it HAS to be otherwise it would be an EPIC! One thing you must realise it that only the 4k will give you the field of view of your lenses. 2k and 1k are just window crops of the sensor. So you 60fps will be a very “zoomed” in image. That is going to be a big pain. Changing the field of view to overcrank is not great to be honest. It’s not the drop in resolution that bothers me it’s if you shoot at 4k which you will to get the S35 aesthetic then if you want to do a slow motion of same shot you simply can’t without backing away, changing lens or simply dealing with it being tighter…

So that is what it is….essentially a scaled back RED Epic (which I own). Same weight (heavy), same accessories (pricey), consumes less power. Two versions a Canon mount version that DOES work with autofocus on EF lenses and a Ti PL version. It does something my Epic cannot currently do, playback in camera. Prices are as follows. Just under $10k basic. Full kit for under $14k. Not sure what that means. I expect you get the SSD module and most likely a touch screen LCD. Canon mount ships 17th November and PL mount (which costs $1500 more)

Oh…the Scarlet- X shoots RAW.

As it’s the same chip as the Epic there is no way it will be as good as the Canon C300 in low light but it will be upgradable to the new Dragon chip in 2012 which will promise better low light sensitivity.

Now it is cheaper than the C300. Is it better? Dunno. Not shot with either. It’s essentially an EPIC light. 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…but one is 1080p internal 50mb’s codec and the other is RAW and shoots 4k…I was never a big believer in the need for 4k and more but owning an EPIC has opened my eyes to the amazing possibilities and flexibility it offers you. Shame it needs a lot of computer processing power to deal with the files unless you but the expensive, but essential RED ROCKET card. Not only do you have re-framing resolution but 4k is future proofing. Like when I shot HD for SD projects a few years back….

This is a super powerful camera and the most affordable 4k/5k camera ever. It is a big deal and looks to be a bargain. Just remember that you do need to buy stuff for it and the workflow is a whole different beast!!

Yes I have reservations as an Epic owner who has had two very bad experiences.You can read about the nightmares we had on HOST here.

Also is it just me or I am that is disappointed that we no longer have the Scarlet, per se? We have a “dumbed down” Epic. Same body, same sensor, heavily reduced features. I wanted a smaller, lighter Scarlet that we were promised 3 years ago, then 2 years ago then 1 year ago?  Instead we have this. Not that this is bad. It’s great! Just a shame the 3 year+ wait yields us nothing what we were promised. This camera will be hugely useful to many. It’s just not the Scarlet. It’s the Epic light.

Honestly, I love the look of the new Canon and the concept camera interests me a lot as I love full frame but that price point is high and people ARE going to be tempted by the Scarlet X price point…I believe the camera goes on sale TODAY!

The Canon seems clearly to be designed for broadcast use, friendly HD codec, easy post production pipeline, reliable manufacturer. It will be approved for full acquisition. The Scarlet is for indie filmmakers and commercials etc…ironic as Canon are aiming for the cinema crowd and i just don’t see it BUT  they will get it but broadcasters will lap this up!!

Oh…one last thing…does all these cameras coming out mean you cannot shoot on your 60D, 5Dmkii, 7D, Gh2? NONSENSE…They are just tools. Expensive ones. Me? I shoot with the right camera for the right job and sometimes that may just be a $500 stills camera!! Trust me…owning one of these new cameras is not going to suddenly going to make your work better! Use what you have!!

Oh and by the way. I ordered a Scarlet.

Right off the back of shooting an Epic (forgive the pun) corporate doco for Kessler Crane with the Epic, F3, AF100, on my way back home I stopped off at a friend of Sarah’s from when she lived in the US, Anthony Vizzari.

Anthony has an amazing story to tell, and you can read about it on his blog here.  When she told me about his story I wanted to make a short documentary on him, just touching on a small part of his life. Mainly his business. The vintage camera shop,  photobooth business and of course what drives him.

I have been wanting to try out the NEX5N for a proper project for ages but didn’t trust it enough for a paid gig, so this was perfect. It has an APS-C chip in it, takes Nikon lenses with my MTF Services adaptor and shoots AVCHD. My version is an EU one so shoots 25p and 50p in full HD.

So we popped over to Anthony’s shop in the Chicago Suburbs to make the film and of course buy some of his incredible vintage cameras. We spent around 6 hours there. 2 hours or so for the interview then set ups and b-roll.

Kit wise I used my Kessler Crane PB Pocket Dolly, Miller Compass 20 tripod, Shape semi cage (so I had somewhere to mount the monitor!), the amazing 5.6″ TV Logic monitor, the Switronix Torch LED as my only light which did a sterling job, Tascam DR100 and Sanken COS-11DBP XLR lav mic.

The cage of course made the rig bigger but with no not shoe mount on the NEX5N I couldn’t just stick it on top of the camera which would have been my number one option for a camera of this size.

Lenses were the Samyang 35mm F1.4, Tokina 11-16, Zeiss 85mm F1,4 and Zeiss 100mm Macro.

Music is from withetiquette.com and the new Vimeo Music Service.

The main track is by Cars and trains. Check out the rest of the album here. It’s was only $99 to license the track for the piece so well worth it.

The end track is Spring by Daniel Dixon available again from withetiquette.com here

I graded it all with Red Giant Software’s Magic Bullet Looks and gave it a some film grain too. Don’t forget you can get 20% off all Magic Bullet products with the code bloom20 at checkout!

I am very happy with the documentary, though I will probably do some further tweaks later this week (EDIT: done 7 revisions. Now it’s done and am happy!). It’s long at just over 9 minutes, but I think it should hold your attention, especially if you love cameras.

Big thanks to Sarah Estela and of course Anthony himself. Check out his site at AnthonyVizarri.com, his vintage camera shop site here and his photobooth business here.

I will of course give the camera a full write up in the more detailed blog to follow in the next few days, I just wanted to get the film up first. I am really pleased with the image, very filmic…although it overheated quite a few times which was a massive pain, and this was with or without the monitor plugged in.

Oh and before you ask…yes I bought a number of cameras from him, love that Horizon!

A warning though there are some disturbing images in the film and one f bomb so be aware before watching!

We have all been waiting for the replacement for the 1Ds mkIII for some time. Initial rumours had it coming out September last year. Well it looks like that is not coming out at all. Instead, we have the renamed Canon 1Dx. The first full frame DSLR to shoot full HD video since the 3 year old 5DmkII!!

It has as expected incredible stills specs, as that is what it is primarily designed for. It has the brand new dual digic 5 processors and can rattle off 12 fps photos (14 fps in JPEG mode). And the magnesium alloy body is the most weather sealed body Canon have produced for a DSLR.

Of course the video function is what I am most interested in, and this is lifted from the Canon press release: “Featuring advanced video-capture capabilities, the Canon EOS-1D X’s upgraded imaging system and Dual DIGIC 5+ deliver greatly enhanced movie quality. In particular, the camera minimizes the occurrence of color artifacts and moiré, and enables the shooting of low-noise video even in dark conditions.”

Now I have not seen any footage yet but I am curious as hell to try this out. We have the same frame rates as we have become used to: 24,25, 30p in full HD and 50 and 60p in 720p mode, but this is interesting…minimised moire? Hopefully rolling shutter too!

The camera now supports Intra-frame and Inter-frame compression, meaning editing with the camera will be a hell of a lot easier, and it will also support two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run. Great for syncing up multiple cameras and great for professional video recording. It is still H264 video compression though…

We also now have a single clip length of up to maximum of 29 minutes and 59 seconds (that stupid EU tax rule stopping it going longer!) which is terrific news! Manual audio is featured and levels can be adjusted WHILST recording with meters on screen during recording!…but I still see no sign of the most basic feature we need…a headphone jack!!

I haven’t seen any footage but cannot wait to get my hands on this. No matter how great all these other video cameras with S35 chips are, they simply don’t have the full frame aesthetic that this camera will offer. Of course now all eyes are turned to the 5dmkIII.

This is the flagship Canon DSLR. But remember this is a camera designed to photographers first and foremost. Canon may potentially add even more features to the mkIII…

The camera is due for release late March next year, and will retail body-only for around $7000!

I do not know if the below video was shot on the 1Dx or not, but it features the camera.

Full press release below:

Canon U.S.A. Introduces The New Canon EOS-1D X Digital SLR Camera, Re-Designed from the Inside Out

Featuring a Completely New 61-Point Autofocus, Fast Shooting up to 12 fps, 18-Megapixel Full-Frame CMOS Sensor, Full HD Video Recording and Much More

LAKE SUCCESS, N.Y., October 18, 2011 – Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce a completely revolutionized EOS-1D series camera, the Canon EOS-1D X Digital SLR camera.* As the new leader in Canon’s arsenal of professional DSLRs, the EOS-1D X will be a high-speed multimedia juggernaut replacing both the EOS-1Ds Mark III and EOS-1D Mark IV models in Canon’s lineup. Enhancing the revolutionary image quality of the EOS-1Ds and speed capabilities of the EOS-1D series, the EOS-1D X DSLR features an 18-megapixel full-frame Canon CMOS sensor, Dual DIGIC 5+ Imaging Processors, 14-bit A/D data conversion and capable of shooting an incredible 12 frames-per-second (fps). Canon’s EOS DSLR cameras and accessories have a long-standing legacy of providing high-quality results to professionals in a wide range of markets, including sports, nature, cinematography, wedding and commercial studios. The addition of this new model will help take this tradition to a whole new level.

The EOS-1D X announcement comes on the heels of Canon’s recent manufacturing milestone with the production of the Company’s 50-millionth EOS-series SLR camera in September of 2011. Furthermore, Canon will achieve yet another milestone at the end of this month producing the 70-millionth EF lens.

“The EOS-1D X represents the re-invention of the EOS-1Ds and EOS-1D series, combining new proprietary Canon technologies with the culmination of customer feedback and requests from the field. We are proud to introduce this camera to the worldwide community of professional photographers and cinematographers with the features and capabilities they need to capture the great moments that display their talent,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

The Camera With Three Brains

The EOS-1D X features three DIGIC processors, including Dual DIGIC 5+ image processors capable of delivering approximately 17 times more processing speed than DIGIC 4, and a dedicated DIGIC 4 for metering and AF control. In conjunction with the newly developed high-performance 18-megapixel full-frame Canon CMOS image sensor, the Dual DIGIC 5+ processors provide high-speed continuous shooting, lower noise, and a significant increase in data processing speed than previous EOS-1D models. This new level of data processing speed allows the EOS-1D X to perform many functions including chromatic aberration correction for various Canon EF lenses in-camera instead of through post-production software. The DIGIC 4 processor utilizes a new 100,000-pixel RGB Metering Sensor for enhanced exposure accuracy with color and face detection, and works together with the camera’s new EOS iTR (Intelligent Tracking and Recognition) AF.

The EOS-1D X employs a completely new imaging sensor, producing the lowest noise of any EOS digital camera to date for stunning portraiture and studio work. The new 18-megapixel full-frame CMOS sensor utilizes large pixels – 1.25 microns larger than those in the EOS-1D Mark IV sensor and .55 microns larger than those in the EOS 5D Mark II sensor – together with gapless microlenses to achieve enhanced light gathering efficiency, higher sensitivity and less noise at the pixel level. The new sensor has improved on the already very high signal-to-noise ratio of sensor output of earlier EOS models for outstanding image quality, even in extremely low light. When combined with the Dual DIGIC 5+ imaging processors the results are stunning. The images produced with the EOS-1D X camera’s new sensor are so clean that files can easily be up-sized if necessary for even the most demanding high-resolution commercial applications. The EOS-1D X will also feature new Ultrasonic Wave Motion Cleaning (UWMC), Canon’s second generation self-cleaning sensor unit, which utilizes carrier wave technology to remove smaller dust particles from the sensor and it includes a new fluorine coating on the infrared absorption glass to help repel dust.

The low-light capability of the EOS-1D X is evident in its incredible ISO range and ability to photograph in extremely low-light conditions. Adjustable from ISO 100 to 51,200 within its standard range, the new model offers a low ISO 50 setting for studio and landscape photography and two high settings of 102,400 at H1 and 204,800 at H2, ideal for law enforcement, government or forensic field applications.

New 61-Point High Density Reticular AF

The EOS-1D X includes a brand new 61-Point High Density Reticular AF, the most sophisticated DSLR AF system Canon has ever released. The 21 focusing points in the central area are standard precision cross-type and effective with maximum apertures as small as f/5.6, depending on the lens in use. The center five points are also high-precision diagonal cross-type points for maximum apertures as small as f/2.8. All 61 points are sensitive to horizontal contrast with maximum apertures as small as f/5.6 and 20 of the outer focusing points function as cross-type points with maximum apertures as small as f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low light sensitivity, and greater low-contrast subject detection capability compared to earlier EOS AF systems. (See image below for AF point configuration)

All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

Similar to the AF point selection options offered in the EOS 7D Digital SLR camera, the EOS-1D X offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection. (See image below AF point selection options.)

EOS iTR AF: Intelligent Tracking and Recognition Enhances AF Performance

The Canon EOS-1D X features incredible new EOS iTR (Intelligent Tracking and Recognition) AF options ideal for wedding and event photography as well as sports and photojournalism. The default AF mode for the EOS-1D X uses phase detection AF information, while a new second option uses Face Detection technology to track recognized faces in addition to color information, ideal when shooting events such as tennis or dancing where facial recognition of the original subject will help keep that person in focus throughout the scene.

Exposure Control

For the first time in a Canon DSLR camera, a DIGIC processor is used exclusively with the metering sensor for fast, accurate exposure control. The Canon DIGIC 4 processor takes advantage of the EOS-1D X’s 100,000-pixel RGB Metering Sensor and utilizes 252 zones for general metering or 35 zones for low-light metering to help ensure accurate evaluative ambient or flash exposure. The new subject recognition capabilities enhance nearly all of the camera’s automatic functions, helping to adjust exposure, autofocus, Auto Lighting Optimizer and Automatic Picture Style to the scene being captured for enhanced image quality.

Multiple Exposure Modes

The EOS-1D X is the first EOS Digital SLR to feature Multiple Exposure capability. The camera can combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera’s LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS-1D X’s Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image.

Super High Speed Mode

The Canon EOS-1D X camera breaks new ground in the world of digital SLRs, offering a Super High Speed Mode which increases shooting speeds up to 14 fps at full 18-megapixel resolution in JPEG mode. The new camera is also capable of shooting RAW, JPEG, or RAW+JPEG at speeds up to 12 fps in One Shot AF or AI Servo AF for enhanced performance in sports photography and other applications requiring high-speed digital capture. This new level of performance is made possible by the combination of the EOS-1D X’s 16-channel readout CMOS sensor, Dual DIGIC 5+ image processors, and a completely new reflex mirror mechanism that has been engineered by Canon to combine high-performance with exceptional precision and reliability.

Enhanced EOS HD Video – New Compressions, Longer Recording

Centered around an all-new full-frame CMOS sensor with larger pixels than those found on the EOS 5D Mark II image sensor, the EOS-1D X utilizes new HD video formats to simplify and speed up post-production work. The two new compression formats offered on the EOS-1D X include intraframe (ALL-i ) compression for an editing-friendly format and interframe (IPB) compression for superior data compression, giving professionals the options they need for their ideal workflow. Answering the requests of cinematographers and filmmakers, the EOS-1D X includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing multiple cameras or separate sound recording to be synced together in post production.

Canon’s all new full-frame CMOS sensor ensures that video footage captured on the EOS-1D X will exhibit less moiré than any previous Canon model, resulting in a significant improvement in HD video quality. A desired feature for many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file capacity and the EOS-1D X is the answer. The new camera features automatic splitting of movie files when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to 29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be seamlessly connected in post production, providing filmmakers the recording time they want in the same convenient DSLR form factor. The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards.

The Canon EOS-1D X also includes manual audio level control, adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input.

Enhanced Ergonomics & Optimized Design

Photographers familiar with Canon’s EOS 1D-series of cameras will notice the control configuration of the EOS-1D X takes a different approach to button placement. The re-designed exterior and ergonomic button configuration feels comfortable in your right hand, allowing seamless navigation through menu options.

The Live View Button has been conveniently placed near the user’s thumb for one-touch switching between Live View and Viewfinder shooting. The Quick Control Button and menu navigation controls will allow users to change camera settings using only their right hand, for fast, simple one-handed control using their thumb on the scroll wheel. The new multi-controller is positioned by the right hand thumb when the camera is held for vertical shooting and enables the same level of control to camera operators when shooting vertically as they have when shooting horizontally. On the front of the camera are four user assignable function buttons, two for vertical shooting and two for horizontal shooting, allowing customizable button control when shooting in either position. The camera also features a level of weather resistance equivalent to earlier professional models such as the EOS-1D Mark IV.

Canon has answered the request of many professional EOS photographers and incorporated Dual Card Slots into the new EOS-1D X DSLR camera. The dual CF card slots will allow photographers to carry only one memory card format and still achieve instant image back-ups and enhanced storage capacity.

This camera also features a new shutter design with even greater durability and precision. Rated to 400,000 cycles, the new carbon fiber shutter blades are more lightweight and durable, allowing the EOS-1D X to achieve over 100,000 cycles more than the shutter of the EOS-1D Mark IV. A new shutter motion and new motor help further reduce vibration in the camera. The EOS-1D X also features an electronic first curtain, new to the EOS-1D series DSLRs, for minimal in-camera vibration during image capture.

Connectivity

For professional photographers who prefer a wired workflow and transfer system, Canon has included a built-in LAN connection in the EOS-1D X DSLR. The built-in LAN connection features a gigabit Ethernet Jack capable of 1000BASE-T transmission speeds, offering photographers a stable wired connection for ultra-fast data transmission. If the network were to go down, the camera will attempt to resend images until the files are sent. The EOS-1D X also features a direct image transfer function whereby images can be selected for transfer, and only sent once a LAN or USB connection is established.

Accessories

Designed exclusively for the EOS-1D X, the new Canon WFT-E6A Wireless File Transmitter* features wireless LAN support for 802.11n network transfer rates providing users with increased communication speed when compared to previous models. With this new dust and weather resistant model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS-1D X also offers an optional Canon GP-E1 GPS Receiver*, which can be easily integrated into the camera’s body. Powered by the camera, this GPS receiver provides the same weatherproof resistance as the EOS-1D X, even at the connector. With an electronic compass on-board, the GP-E1 will log movement – latitude, longitude, elevation, and the Universal Time Code – and allow viewing of camera movement on a PC after shooting. The receiver will also record camera direction when shooting, even when shooting vertically.

Pricing and Availability

The Canon EOS-1D X Digital SLR camera is scheduled for March 2012 availability and will be sold in a body-only configuration at an estimated retail price of $6,800.00. The compact, lightweight WFT-E6A Wireless File Transmitter is scheduled to be available in March 2012 and have an estimated retail price of $600. Availability for the GP-E1 GPS receiver is expected in April 2012 with an estimated retail price of $300.

According to my sources this is what will be announced on November the 3rd. Remember…none of this is confirmed!!

There will be two Cameras. A PL version in the F3 price range and an EF one more in the FS100 price range. Crews have been around Los Angeles and in the Mojave desert area shooting demo material for the launch presentation.

4:2:2 in camera recording, the tried and tested XF codec, which is rather spiffing as I have it in my XF105 and it’s nice and robust AND accepted by HD broadcasters…Full HD is most likely. The XF codec and 4K would be a struggle.

I would also not be surprised if we see two version of the cheaper EF camera. One with SDI and Genlock and one without. Canon have history with this style of design. 

Canon is prepared to deliver in quantity at the beginning of the year.

Well it seems it could be a hell of a big day in the camera world. Not only will the Chronos film festival be opening  on the 3rd Novemeber with me introducing Koyaanasqatsi in Santa Fe , NM (come along! it’s going to be a blast! What a great place to shoot!) but Canon have their “big announcement” which may or may not be a new camera and now RED have come out of the closet with what seems to be something we all though would never happen. Announcement of what the final specs of the release Scarlet will be with a CONFIRMED ship date and that orders will be taken on that day. Order start at 7pm PST for both the USA store and for RED EUROPE.

I, like many, have been waiting for the Scarlet ever since it was announced with the mock up back at NAB in 1976 when I was just 5 years old! It’s been a long road but it looks like we could finally be reaching the end of it. It’s gone through many different specs. The main 3k for $3k cameras for the prosumer was dropped, mainly due to the Canon DSLR revolution. Now the camera we are currently expecting is the 2/3″ fixed lens Scarlet with an 8x zoom lens. It looks sweet but 2/3″ these days, to be honest, is not the size sensor that indie filmmakers want to shoot with. Unless of course they have a huge love of 16mm film and have those lenses. I still shoot 2/3″ for my broadcast work but on big ENG cameras with 20x + zoom lenses and I can get shallow DOF but only on the end of the lens. It will be interesting to see how a fixed 8x zoom 2/3″ camera will fit into the market. It “should” have 120 FPS though and that RAW RED format is to die for. I have my EPIC M and it is simply astonishing. I expect it will be a great camera for 3D as 3D works better with deeper depth of field. But I have about as much interest in 3D as I do in watching “The View”.

So, is this designed to take away the thunder from Canon’s announcement? Personally I don’t care. The sooner we get confirmation of a release for Scarlet the better. It makes a lot of marketing sense to do it on that day. I am very curious to see if the specs have changed and given Jim Jannard’s announcement that they will talk about products when they are ready to ship this could mean we are finally there. For me it would make a great B camera to my Epic.

Of course we still don’t know what the Canon announcement is. It could be anything from a 4k S35 camcorder to a 5DmkIII, to the release on Ron Howard’s movie he made from user submitted stills or maybe it’s a new laser printer than can print a whopping 120 PPS (pages per second)?? Now that is an over-cranked printer. Neat! Click the image below for some fun speculation!

We also had the new mirrorless cameras announced from Nikons. The looks really nice apart from one thing. The sensor is too small. The new wonderful Sony NEX5N has an APS-C chip in it . The sensor of the new Nikon is called a CX format and is a 2.7x crop of a full frame. For reference full frame is a 5dmkii, sony nex5n 7D etc is 1.6x crop. GH2 is 2x (ish) crop. So this is even smaller. Personally that is a big let down. A sensor smaller than micro four thirds?  Who wanted that? Not me!

I am a Nikon user and have 4 of their DSLRs but this is disappointing. This is a bit worrying as Nikon has a lot of money invested in yet another format for a camera that really wont work well with the current Nikon lenses due the mis-matching of sensor sizes. This means this will be their new format for the foreseeable future. Of course a mirror-less camera needs native glass as the sensor sits a lots closer to the back of the lens. I am fine with that as long as I can use my current glass with an adaptor for the same field of view. Sony have clearly shown a small camera with APS-c sensor is do-able so why have they gone down this road? It’s not even cheap! Around a $1000 which is more than my NEX5N and close to the very high spec NEX7 due in November.

Oh it does record video but to be honest I cannot see me getting one of these and that says a lot for a lover of cameras like me!

Anyway. Gotta shoot. Off to see Tinker Tailor Solider spy. Will update this blog later with more info…

Update: Tinker Tailor was exceptional. You need to pay attention though!

I thoroughly recommend downloading it and watching it on your media player on a TV or through internet TV. Watching an almost 100 minute film on a computer sucks to be honest and does it no favours. Watch it on TV and it shines…oh and stick with it. It didn’t grab me immediately but after a little bit I was in! It won’t be everyone’s cup of tea…What is really interesting though is why it’s online for free and is this a wise thing to do rather than try and make money from it…That was the guy’s initial plan but a number of factors meant they decided to make it a calling card instead, that is detailed below…

So here are some words from Director Kent Lamm on why he made the film and why it is available for free on Vimeo. Nice job guys and a great calling card!

 Chris Fornataro and I started writing Bad is Bad in the summer of 2009 with the intent of filming it ourselves and submitting it to film festivals. Since we were (and still are) poor undergrad students, we planned it out so that we could film it for practically nothing, writing in only resources and locations which were at our disposal for free. In the end our total budget was about $6,000, the majority of which was for equipment. We raised this money through part-time jobs and by winning several cash prizes in short film competitions.

We shot on the Canon 7d because it was the quickest, easiest, and (with exchangeable lenses) most versatile camera to shoot with, and the price was reasonable. We purposely did not use much of the super-shallow DOF which DSLR filmmakers so often (over)use. We favored wide shots in the cinematography to give the movie a more austere tone. We also made sure not to fall into the trap of trying to make a Hollywood style movie with zero budget. We played to our strengths: good actors, a good story, and the fact that we could do anything we wanted in the script or on set because no producers were looking over our shoulders. After 18.5 days of shooting, we were wrapped, and once again broke.

After an extremely intense and rushed editing process we started sending it out to film festivals, but were not having any luck. Eventually I realized that my supposed final cut of the movie was too slow, especially in the beginning, and in many scenes the editing was simply not up to par. I went back and overhauled the entire movie with this new cut which is far superior to the old version. 

The producer team

-Kent Lamm (director, co-writer, producer, and editor of Bad is Bad)