THE EOSHD PANASONIC GH3 SHOOTER'S GUIDE BY ANDREW REID OR HOW TO SAVE $ 19,99.
I am audiovisual journalist. I collaborated with an array of magazines including… Photo, Camera Video, La nouvelle Revue du Son, MacWorld, Photo, Sciences & Vie High Tech, SVM Mac, Sonovision Broadcast, etc.
Andrew does a very good job with his website. His book is a very good idea for GH3 users. However, when I bought it, I thought to buy a REAL BOOK but in pdf format for iPad. I thought to find 250 pages filled with text and illustrations. In fact, it is only a lexicon, an improved manual with tips. It contains approximately 42 000 words or 200 000 letters according to the counter of Word. Its corresponds to... 44 pages of article in a magazine. $ 19,99 is VERY EXPENSIVE for a Pdf file.
The book is not intended for beginners or videographers. Andrew makes sacred the cinema. But he does not know Depardon, Bresson, Truffaut, Pean, Ozu, etc. No salvation for you if you have something other than an Apple Cinema Display or Dell 2711 screen and "cheap" lenses. For sample, the Dell costed $ 900 brand new. Now it is at $ 500 in used. The new one U2711 costs $ 1 500, the Apple $ 990… The average cost of a 27' screen is $ 300…
To shoot in manual is an obligation for Andrew. I do not share this point of view. Some automatisms are very useful and are used by many videographers and filmmakers. Even when they claim otherwise. For example, the settings for white balance and iso are terribly effective on the DMC-GH3. Automatisms are an aid to the creation. It allows you to focus on another thing than the "engine". For a documentary, a reportage, it belongs to us to adapt ourself to situations where the opposite is impossible. One exception, the "Continuous AF" must be on OFF. The GH3 can not strictly follow.
Too much talk and too many images in this book. Five pages for the contents, three pages of interview, one page for Andrew Reid and his ego, fifty pages for the lens samples gallery. Too filling. The real book starts on page 12. Andrew does not know that the DMC-GH3 Pal also have 24p. He explains that we must shoot in 25p to avoid flickering in 50Hz. He does not explain it is the same problem with the Ntsc. The number of images is connected to "one half" of the electricity frequency of the country where you film. 60hz in Usa or Japan, 50Hz in Europe. I you want avoid flickering in Ntsc, you have to use the 30p. Also, a film in Pal 24p or Ntsc 24p does not produce the same result in Europe or in Usa. With or without transcoding. About my company, we needed to buy 2 GH3. One Pal bought in Paris, the second one in Ntsc bought to BandH.
Andrew swears only by the MOV and the Progressive. I do not agree. To film in Progressive is not an obligation. ALL LCD TV automatically convert movies and video in 720p or 1080p. I CHALLENGE ANYONE to do the difference between MOV and AVCHD after post treatment of images with Color, After Effects, DaVinci Resolve, etc. Do not forget that over 90% of the films will be watched on "Lounge" LCD TV and not on professional monitor. Most of my films were filmed in interlaced. Do you see flickering on my films on Vimeo ???? 49 films wait for you.
The function settings are welcome. Andrew details the methods one by one and explains why. PERFECT. I regret that he has excluded AVCHD of his choice. It is not a "Low Cost" format. Final Cut Pro Studio accepts COMPLETELY AVCHD formats. Without problem.
The choice of lenses is biased and unfair. It was unnecessary to devote a page per lens with a link to... eBay. When I pay $ 19.99 for a book, I do not want advertising or links that direct to businesses or others. Or the book is FOR FREE. You will not find Panasonic lenses as the 12-35 mm, 20 mm, 14 mm, 35-70 mm, 70-100 mm. It is not good enough for Andrew Reid.
I say STOP to the dictatorship of Voigtlander Nokton and SLR Magic lenses. Today, all movies are alike. Everyone mimics everyone. The depth of field has become an obligation in opposite with the interest of the film. It is often a makeup that is used to disguise the poverty of a scenario. Customers now no longer respect the writing of a director. They want what they have seen elsewhere. IT IS STUPID. A director is an author. I am Pier-Yves Menkhoff and I do Pier-Yves Menkhoff films. If you do not like my films, go elsewhere. I am not opposed to Voigtlander and SLR Magic lenses. It is like "alcohol", use it with moderation and in the interest of the film.
The most useless in the book are the 50 pages dedicated to lens samples gallery. Pages 105 to 155. WHO CARES ? The following pages are a catalog of accessories. Andrew is "rich" and very subjective. It is normal, the brands lend or give materials to the journalists and the bloggers. Everybody has not his budget. He could propose alternative lenses and other products. For sample, nothing about cage for GH3 like the Fhugen. Very good and only $ 99,99 !!! Where to find a good economic Follow Focus for the GH3 ? Which brand ? You can find on eBay others lightings than the Switronix TL-BT200 at prices four times lower with the same result. The Aputure Amaran AL198C or the 144AS is excellent. It cost only $ 90 each. For a film production, you can also use the Aputure Amaran 30W 528 LED. It costs only $ 150.
To summarize this book, Andrew could be more simple, concise and 100|150 pages are enough. I only hardly recommend these pages : Settings, Video Recording, Features for Filmakers and Post Production Technical.
To really finish, Andrew does not accept the contradiction. Any dialogue is possible with him. He deleted my opinion on the forum of his site. If you do not agree with him, he slams you the door. The important for him is the number of hours spent to write and not the result. He does not care about the satisfaction of the reader as he does knows the definition "Satisfied or your money back"...
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