I DO want video!

Yeah, because those $30,000 Arii lenses are just such pieces of junk
compared to Canon L glass.
Yeah, and they're $30,000 which was my freaking point.
So wait, one minute the discussion is about how using an expensive EF lens makes an SLR so much better than a video camera, and as soon as I point out that there are even more expensive, and quite a bit better, video lenses, suddenly that is TOO expensive, and we are talking about doing it on the cheap, not doing it well. Seems like a bit of a moving goalpost.

Whether you specifically said it or not, the undercurrent running through all these discussions of video on an SLR, is this desire to believe that an SLR is somehow going to be able to record video better than any video camera in the world, because it has a better sensor and better lenses than any video camera. This is in fact a complete flight of fancy, because what you are doing is comparing pro or semi-pro SLRs costing thousands of dollars, to cheap consumer handycams costing almost nothing. As soon as it is pointed out that actually video cameras can already do everything that is being billed as amazing in SLR video, the argument then immediately becomes one of how cheap it is, not how good it is.
How about instead of comparing an $8,000 camera with a $2,000 lens to
a $1,000 video camera you pick up at best buy, you compare them to
the same class of video camera?
I don't see a D90 plus a 85/1.4 or even a 5DII plus 85/1.2 costing
anywhere near $8000, and I'm comparing with the best available to the
consumer, which are about that price. Besides that's not the point. I
was NOT comparing both. I would even buy that $1000 camera if I was
doing a lot of video. Of course they're not interchangeable, but to
achieve just a short clip with the DOF control and low-light
capabilities that you could with a big-sensor DSLR with video, you'd
need a super-expensive and totally unnecessary HD rig.
First off, the last I checked, this was the 1D/1Ds/5D forum, so I foolishly assumed that we were talking about features that might be added to future versions of those cameras, not a feature in the D90, seeing as how this is not the D90 forum, or the 50D forum, or the Rebel forum. I checked just a few seconds ago, the 1Ds still costs $7,800, and the 70-200mm 2.8L still costs $1,700. That puts you at $9,500, which would easily buy you an XL H1 and a lens.

Secondly, perhaps you haven't seen much TV lately, or watched any indy films, but for the past several years, people have been doing pretty well at getting really nice DOF off of those video cameras, even if their sensor isn't as big as yours.
What's the price on a digital HD videocamera with a
35mm-sized sensor anyway?
$17,000, or basically the price of a 1DS and a couple of large L
lenses. It can grab stills too.
Yeah, too expensive.
Too expensive for what? There are plenty of people, some apparently right on this forum, who spend far more than that in a year on still photography gear.
Just out of curiosity, which Canon camera is $10,000? The absolutely
most expensive one I can find is $9,000, and that is with a lens, and
with a sync feature that no one would need unless they were doing a
multi-camera shoot. Otherwise, their video cameras, with a lens,
cost less than a 1Ds body.
The price went down, just like the 1Ds series is not "$8000" anymore.
No, just to make sure, I pulled out an old DV magazine from 2006, and there has never been a Canon XL camera that was over $9,000.
The thing is that the D90 has demonstrated that this kind of feature
is relatively trivial to put on a DSLR, and for the benefits, I think
it's great.
How has the D90 demonstrated it is trivial to add? The video on the D90 is all but unusable, doesn't even look as good as some of the video coming out of some of the higher-end P&S cameras, and can't even come close to competing, on video quality, with the cheap handycams you can get at Best Buy. Still, it is the feature Nikon is hyping the most about the camera, which usually means it is something they put a fair amount of work into the feature, and want to make sure people know about it. From where I sit, it looks like it is an incredibly difficult feature to properly implement, and will require quite a bit of R&D before it produces anything of any real use other than YouTube clips.

Compared to photo-related features that really are trivial to add, like an on-board programmable shutter timer, or a mirror lock up button, or built-in wireless file transfer, or 64-bit drivers, which Canon has seen fit not to add, a video mode seems pretty complex to me.
I don't get why people complain about these things. It's
not like it's a damn print button.
How is it not like the print button? I know my wife has used the video mode on her G9 exactly one time more than I have used the print button on my 5D. That is to say, I have never used the print button once, and she recorded one movie when she got the camera, just to see how it worked, and has never recorded another one. I don't see how that makes them very different. I'm sure someone thinks the print button is the greatest thing since sliced bread, and I still wish Canon had spent their time and money better.

--
The goal is to overcome the deliberate nature of the process.
 
... buy a D90 and be happy!

I also have my wishes, 2+ stop DR improvement being on top of the
list, espacially at the high-light ends of the DR. (Shadow end
improvements OK if I get HTP modes with 2 stop, and perhaps also 3
stops, besides the current 1 stop setting as well.)
I don't think that would make me very happy because I would have to buy new lenses too.. I'll just cross my fingers until the 26th..

JP

--
http://www.Myspace.com/JPphotographer
 
So wait, one minute the discussion is about how using an expensive EF
lens makes an SLR so much better than a video camera, and as soon as
I point out that there are even more expensive, and quite a bit
better, video lenses, suddenly that is TOO expensive, and we are
talking about doing it on the cheap, not doing it well. Seems like a
bit of a moving goalpost.
It WAS my point from the start, that to match the level of low noise and DOF control inherent on a bigger sensor design (compared to similar technology) from a real video camera, you'd spend a LOT more money. That feature alone was what I've been talking about all the time.
Whether you specifically said it or not,
I didn't even imply it, much less said it. I don't even agree with it (for now, who knows what will happen in the future).
the undercurrent running
through all these discussions of video on an SLR, is this desire to
believe that an SLR is somehow going to be able to record video
better than any video camera in the world, because it has a better
sensor and better lenses than any video camera. This is in fact a
complete flight of fancy, because what you are doing is comparing pro
or semi-pro SLRs costing thousands of dollars, to cheap consumer
handycams costing almost nothing. As soon as it is pointed out that
actually video cameras can already do everything that is being billed
as amazing in SLR video, the argument then immediately becomes one of
how cheap it is, not how good it is.
[...]
First off, the last I checked, this was the 1D/1Ds/5D forum, so I
foolishly assumed that we were talking about features that might be
added to future versions of those cameras, not a feature in the D90,
seeing as how this is not the D90 forum, or the 50D forum, or the
Rebel forum. I checked just a few seconds ago, the 1Ds still costs
$7,800, and the 70-200mm 2.8L still costs $1,700. That puts you at
$9,500, which would easily buy you an XL H1 and a lens.
We're talking about the feature, and the D90 is the pioneer in this. That said, the camera being speculated about is the next 5D, not the 1DsIII (that one doesn't have video).
Secondly, perhaps you haven't seen much TV lately, or watched any
indy films, but for the past several years, people have been doing
pretty well at getting really nice DOF off of those video cameras,
even if their sensor isn't as big as yours.
Bigger sensor, better DOF control, as simple as that. Better is always better. An actual video camera with a big sensor would be better still, but very expensive. Again, for short clips that most of us would make, nothing too professional, it's a great SECONDARY feature/option.
Yeah, too expensive.
Too expensive for what? There are plenty of people, some apparently
right on this forum, who spend far more than that in a year on still
photography gear.
Too expensive for us who primarily take pictures and don't need a fancy HD rig whatsoever.
Just out of curiosity, which Canon camera is $10,000? The absolutely
most expensive one I can find is $9,000, and that is with a lens, and
with a sync feature that no one would need unless they were doing a
multi-camera shoot. Otherwise, their video cameras, with a lens,
cost less than a 1Ds body.
The price went down, just like the 1Ds series is not "$8000" anymore.
No, just to make sure, I pulled out an old DV magazine from 2006, and
there has never been a Canon XL camera that was over $9,000.
I remember the first HD XL camera went for $10,000 or close to it. In any case, not even that camera at $9000 can do DOF control like the D90 (that feature and that feature alone).
How has the D90 demonstrated it is trivial to add? The video on the
D90 is all but unusable, doesn't even look as good as some of the
video coming out of some of the higher-end P&S cameras, and can't
even come close to competing, on video quality, with the cheap
handycams you can get at Best Buy. Still, it is the feature Nikon is
hyping the most about the camera, which usually means it is something
they put a fair amount of work into the feature, and want to make
sure people know about it. From where I sit, it looks like it is an
incredibly difficult feature to properly implement, and will require
quite a bit of R&D before it produces anything of any real use other
than YouTube clips.
The samples I've seen (admittedly from Nikon's site) look great, and you can't achieve some things like (again) that level of DOF control without a much much more expensive camera. Other things, you can use an actual video camera for, but not this specifically.
Compared to photo-related features that really are trivial to add,
like an on-board programmable shutter timer, or a mirror lock up
button, or built-in wireless file transfer, or 64-bit drivers, which
Canon has seen fit not to add, a video mode seems pretty complex to
me.
I didn't say I don't want those. Mutually exclusive, why?
How is it not like the print button? I know my wife has used the
video mode on her G9 exactly one time more than I have used the print
button on my 5D. That is to say, I have never used the print button
once, and she recorded one movie when she got the camera, just to see
how it worked, and has never recorded another one. I don't see how
that makes them very different. I'm sure someone thinks the print
button is the greatest thing since sliced bread, and I still wish
Canon had spent their time and money better.
The print button is all but useless (even the 20D can print from camera just fine), video is not useless. I use video on my G9 seldom as well, but it's useful when I do. The G9 doesn't have an advantage of big sensor, though, which is pretty much the only thing I'm talking about that's an advantage.

--
Andy
 
You're saying you're willing to compromise. Ok, here's a question of
something that has a chance of happening one day.

What if in the future, they change the AI Servo motor to a quieter
motor so that AI Servo can be used for video. Disadvantage is that
it has 10ms slower response time.

The question is not about trading 10ms response of the AI Servo for a
video feature now.

Its about driving the interest of video on dSLRs with the future
consequences of losing slight performance (when it comes to
photography, in this case shooting action sports) due to dSLRs one
day turing into full on professional video recording equipment/camera.

People will be saying, "AI Servo? Yeah they don't make them like
they used to."

Of course this is a hypothetical scenario. Who know how much or how
little we'll lose (of what). Or we'll lose anything at all. But
there is a possibility of things of this nature happening is there.

So, are you willing to compromise on that?

You can't say Canon won't let that happen because they are willing to
compromise on the quality of the images for increasing the number of
megapixels for more buyer appeal. You can't blame them for wanting
to sell more cameras.
Good question..

I use AI-servo AF quite a bit.. I've owned the D30, which I used to cover pro-outdoor soccer for a season, and it was painful.. The lag time of the shutter was so so so slow, that when I saw a head hit about to take place, I had to manual focus on the players, and then take the shot just as they jumped from the ground, about a 1/2 second before they made contact, because by the time they would make contact with the ball, the shutter would finally activate! Although I loved the aspects of shooting digital, paying 3 thousand bucks for that 1.6 crop piece of slow garbage really stressed me out.. Funny how I didn't start gaining weight until I bought a 1D series body.. ;-)

To answer you,......no.. I just could not see myself going backwards into those days of slow shutter lag times.. It has to be fast, or not at all.

The compromises I'm willing to make are the pop-up flash, because I really never use it. Some say that it aids in AF in low light,...that's nice if someone doesn't mind having the flash screw up ambient light, which I wouldn't want to do.. The direct fax button.. ;-) .....to tell you the truth, to this day, I have never even pressed that button in....so I don't even know if it does anything.. Nor do I mess with the fine tone and or color adjustments, because the screens on the backs of my cameras don't really reflect what the actual look of the images when I upload them to my Mac.

Another thing I wouldn't mind getting rid of is that monochrome mode.. I shoot RAW, and do all of my B&W conversions in PP.. Even when I shot jpg, I just did all my B&Ws in photoshop..

So, there are some features I'd be willing to sacrifice, but not the shutter lag..It's slow enough on the 5D as it is!.

Shot with D30, 300mm f2.8 L (non IS), 1600iso (cleaned up), manual focused, and shot a fraction of a second before the moment of action took place that I wanted to capture with that P.O.S. camera!:



JP

--
http://www.Myspace.com/JPphotographer
 
I remember the first HD XL camera went for $10,000 or close to it. In
any case, not even that camera at $9000 can do DOF control like the
D90 (that feature and that feature alone).
The debut of the XL H1 line ranged from $7,800-$9,000. Sure, that is "close to" $10,000, but by that same sort of rounding, so is a 1Ds

I think you have an unrealistic idea of how big an advantage the sensor size gives you. I have seen multiple professional photographers on multiple sites swearing up and down that various footage around the net MUST have come from a new SLR with video, because it was impossible to get that kind of DOF control on a video camera, only for the footage to invariably have come from Sony cameras with 1/2" sensors using 35mm lens adapters.

A Sony EX 1 ($6,500) and a 35mm adapter ($1,200) and you are still under the price of a 1Ds. You can say all you want that you just can't get the same results from the smaller sensor, but the results seem good enough to fool many photographers and filmmkers into thinking the footage had to be shot on some sort of 35mm rig.
The samples I've seen (admittedly from Nikon's site) look great, and
you can't achieve some things like (again) that level of DOF control
without a much much more expensive camera. Other things, you can use
an actual video camera for, but not this specifically.
Sure, if you don't move the camera, and don't have anything moving too fast, and then view the video at a reduced web size, not at HD, then it looks fine, but then just about any footage from any camera will look fine under those conditions. The actual HD footage looks horrible.
I didn't say I don't want those. Mutually exclusive, why?
Because developing any feature, even a stupid print button, costs money, and there is a finite amount of it to go around. A department can't spend money on one feature, without cutting the funding to other features. They don't have an infinite number of people or an infinite amount of money. It is a zero sum game. For everything they decide to work on, there are other things they can't.
The print button is all but useless (even the 20D can print from
camera just fine),
Agreed. I have never found a single use for it. That is not to say, however, that I couldn't invent scenarios where I could prove its usefulness if it were my goal to do so. I am absolutely positive that SOMEONE out there just loves the print button, and would be devastated if it were removed, because it is essential to their workflow.
video is not useless.
On an SLR, it is to me. I cannot think of a single situation where an SLR would be MY choice for shooting a video. If I were going to shoot a video, I would go down the street and rent a Sony, or a Red. That is just how I do things. I am not saying it is useless to everyone, I am saying that, just like the print button, it is useless to me.

You seem to be making some argument that because it is useful to you (or at least you imagine it will be, since you don't yet have an SLR with the capability) that I must accept that it is useful. Problem is, my money is not spent democratically. I am not taking a poll on how other people think I should spend my money, I am spending my money based on what I want. If Canon wants to get money out of me for another camera, they better offer a camera that has the features I want. So far, all the features being touted as the "next big thing" in SLRs, like more autofocus points, in-camera retouching, rubber gaskets, video mode, sound recording, higher resolution LCDs, better pop-up flashes, face detection, and auto ISO, are all just more print buttons, because none of them will get me a better picture, at least not the way I work. They might be useful to other people, but I am not planning on buying cameras for other people. If Canon wants my money, then those features are not going to do it. As far as I'm concerned, I have yet to hear of a single feature in all the 5D MkII speculation that makes me think I need one. However, from my point of view, Canon could release the exact same 5D I already have, but with two more stops of dynamic range, and I would run out to get it the moment it hit the shelves. They might not want my money, and that is fine too, but I don't have some obligation to buy a camera with a feature you think would be great, just because other people like it.
I use video on my G9 seldom
as well, but it's useful when I do. The G9 doesn't have an advantage
of big sensor, though, which is pretty much the only thing I'm
talking about that's an advantage.
Once again, big sensor does not automatically equal better video. Sure, all things being equal, a bigger sensor is better, but when you are comparing a single Bayer masked CMOS sensor to three CCD chips, and dramatically different architectures, features, and capabilities, all things are definitely not equal.

--
The goal is to overcome the deliberate nature of the process.
 
This is total BS. There are plenty of indy films and good quality TV
shows being shot on cameras like the XL H1.
There are also plenty of indy films and good quality TV shows being shot on SD cameras so it's hardly proof of image quality.

The only television show that I can see is being shot with an XL H1 is "The Guiding Light" daytime soap opera... and they don't even bother to produce it in HD! The camera is popular for ENG which isn't where I look when I'm looking for quality production.
Because the quality of video is not a straight factor of how big the
sensor is. Most people who have experience with both will attest to
the fact that the actual output of a top of the line Sony HD camera
is every bit as good as the output (some would even argue better)
than the output of a Red One, despite vast differences in sensor
sizes.
That must be why cameras with 1/3" sensors are regularly used in digital cinema production.

Oh wait, they aren't! They use Panavision's Genesis which happens to have a 4 perf 35mm sized sensor. Or they use Sony's CineAlta which also has a 4 perf sized 35mm sensor. Or Arriflex's D-20 which has, you guessed it, a 4 perf sized 35mm sensor. Even TV shows with a small budget like Battlestar Gallactica use Panavision's HD-900F which doesn't have a full frame sensor but it's only a 2.5X crop factor.

I would say that anyone who says a 1/3" sensor is "every good as the output" of one these cameras with larger sensors is completely fooling themselves. Perhaps they're satisfied with the output of their P&S pocket digicams too. I have yet to read of anyone in the industry claiming that the output of a 1/3" sensor camera is as good as any of the cameras I've listed above.
You are arbitrarily choosing one metric and saying that it is
an absolute measure of quality. I could just as well ask you how you
ever expect a single chip camera to do anywhere near as well as a
three chip camera?
I guess you'll have to ask Panavision, Arriflex, and Sony why the heck they're using "inferior" single chip sensors in every single one of their top of the line digital cinema cameras.
It is an arbitrary metric based on a spec sheet,
that has very little to do with final video quality.
You heard it here first, everyone: sensor size has very little to do with final video quality! Somehow video defies the laws of physics of photography!
And who said anything about not having to focus? Once again you seem
to be confusing the cheap P&S handycams that you get at Best Buy,
with real video cameras.
No I was talking about professional cameras with 1/3" sensors. OK, you didn't get the hint that the huge DOF of the 1/3" sensors makes focus pulling easier. I should have made that more obvious.
What I find so funny about this, is you seem to grasp that video
cameras make horrible still cameras, but then all reason flys out the
window, and you seem to think is impossible that there could be any
reciprocity, and that still cameras might just be as bad a design for
doing video as video cameras are for doing stills.
I encourage to stop laughing for a moment and actually think about what you've said here. It's just a vacuous "reverse logic" argument with no evidence behind it.

You see, video cameras with small sensors make for terrible still cameras simply because their image quality is terrible due to their small sensors. On the other hand DSLRs with large sensors, like the high end digital cinema cameras I mentioned above, have superior image quality. How can you conclude from that that they must be terrible for video?
 
A Sony EX 1 ($6,500) and a 35mm adapter ($1,200) and you are still
under the price of a 1Ds. You can say all you want that you just
can't get the same results from the smaller sensor, but the results
seem good enough to fool many photographers and filmmkers into
thinking the footage had to be shot on some sort of 35mm rig.
Please tell us where you heard or read of this happening. Please list the names of the "many photographers and filmmakers" who were fooled. I'm sure Sony would love to use this in its advertising.
 
Looking at the D90 samples, its not for professional
work. Abrupt changes in exposure (exposure lock won't work in harsh
lighting situations), choppy 24fps (not like real film slow shutter
motion blurred 24fps)
Disagree. Don't be so quick to write it off. Spend some time here:
http://vimeo.com/D90/

There are both good and bad examples. Don't let the bad fool you into thinking it's not a capable tool. You wouldn't judge the capacity of a new dSLR by a few bad sample images, would you?
 
Why don't people want it? Its sacrilegous. A dSLR has been, until
the D90, a photography tool of the highest sophistication. Every
curve, every knob, every microinch of every surface has been
relentlessly pondered about how to improve it for one purpose and one
purpose only. To take photographs. Just incase adding a feature no
one is going to use may have a chance of negatively affecting the
ability to shoot a the best photograph possible, some people are not
willing to chance that for a feature they don't have any interest in.
And even the first generation video dSLR (the D90) will instantly snap a still picture even without having to stop the video recording first. It is 100% still photo priority. Even the shutter speed, aperture and ISO on the screen while recording refer to what it would use to snap a still image at that time. Kind of hard to be any less compromised than that. And yet the video output is remarkable - colors, dynamic range and depth of field that seems to be in a class of its own compared to the small sensor video cameras, even the expensive 3CCD ones. So the indie guys will bend over backwards to use the tool if there's a benefit for the final output.

http://www.dvxuser.com/V6/showthread.php?t=145435
 
How has the D90 demonstrated it is trivial to add? The video on the
D90 is all but unusable, doesn't even look as good as some of the
video coming out of some of the higher-end P&S cameras, and can't
even come close to competing, on video quality, with the cheap
handycams you can get at Best Buy.
You are just plain wrong. It has a heap of downsides but the people that stand to gain the most from the existence of the D90 (the indie guys) are putting together some really decent stuff as well as hacking their way around the camera to make it do what they need. They haven't yet become as spoiled as we dSLR users and are willing to expend a substantial amount of effort to obtain a desired result. And the D90 fits right in. Click the links I provided and spend more than 5 minutes forming an "opinion."
 
On instance of it was right here on this site a few days ago. I don't remember the exact thread, because there have been too many video threads to keep up with. Someone posted some movie from http://www.thebschoolblog.com/ stating that it had to be shot on a pre-release D90, because there was no way it was done on a video camera. It ofcourse turned out to have been shot on an EX1 with a 35mm adapter. You can also regularly see people on sites like CreativeCow claiming that this show or that commercial had to be shot on film, or a Red, because of the DOF, only to be proven wrong and have it turn out it was shot on something like an XDCAM. It is not an uncommon phenomenon at all. People have become very used to thinking they can figure out the creative possibilities of a tool by looking at a spec sheet, and so are quite happy to claim what can and can't be done on equipment they have never picked up, without actually trying to do it.

--
The goal is to overcome the deliberate nature of the process.
 
I have looked at your links. Can you just not see how really horrible the movement is? You are right that it is in a class by itself, but that class would seem to be the bests looking webcam on Earth. No matter how rich the colors, how nice the OOF blur, how narrow the DOF, if the video looks choppy and jerky, it is an awful video camera. No one is doubting that a still camera can take nice stills, but video isn't about how good a still frame looks, it is about how well it moves.

--
The goal is to overcome the deliberate nature of the process.
 
if the video looks choppy and jerky, it is an awful video
camera.
In all seriousness, have you tried turning the HD option off on the Vimeo clips? My home machine (Athlon XP3000+, 2 gigs of ram) CANNOT play them smoothly in HD mode. My work machine is a 2.33MHz Core2Duo w/ 2 gigs and MOST (not all) play smoothly in HD. 24fps is pretty close to 30 (or 25p in PAL-land) and should NOT be choppy/jerky, unless it's a playback issue. Please look into it...
 
Oh wait, they aren't! They use Panavision's Genesis which happens to
have a 4 perf 35mm sized sensor. Or they use Sony's CineAlta which
also has a 4 perf sized 35mm sensor. Or Arriflex's D-20 which has,
you guessed it, a 4 perf sized 35mm sensor. Even TV shows with a
small budget like Battlestar Gallactica use Panavision's HD-900F
which doesn't have a full frame sensor but it's only a 2.5X crop
factor.
Yes, large budget films and shows use large budget cameras. Congratulations on figuring that out. You must be really smart. Those are, however, hardly the only cameras ever used for anything.
I would say that anyone who says a 1/3" sensor is "every good as the
output" of one these cameras with larger sensors is completely
fooling themselves.
Ah, always a great way to show your true colors in an argument. Can't get a handle on what the other person is saying? Just make something up and then argue against that as though they said it. I never said that a small sensor was as good as a big sensor. In fact, if you take the exact same camera, and redesign it to scale it up with a bigger sensor, then you will get better image quality. However, there is a LOT more to a successful camera design than how big the sensor is. Just throwing a bigger sensor at a camera does not make it better. You can have an absolutely horrible camera with a huge sensor, or an absolutely fantastic camera with a small sensor. The reason so many cameras use 35mm sensors has nothing to do with some inherent superior quality of 35mm-sized sensors, it is because there are already a large number of lenses designed for 35mm film, and it is easier to design the cameras with 35mm sensors, than it is to redesign the lenses to work with a smaller sensor.
I guess you'll have to ask Panavision, Arriflex, and Sony why the
heck they're using "inferior" single chip sensors in every single one
of their top of the line digital cinema cameras.
Your reading comprehension is poor. I said, that you are incorrectly taking on arbitrary measure off a spec sheet, and extrapolating it to be the single factor that determines quality. I then pointed out that I could do the same thing with any other arbitrary measure. I never said that any one measure made a camera superior or inferior. This is just another lame attempt to recast my argument to one you think you can win.
You heard it here first, everyone: sensor size has very little to do
with final video quality! Somehow video defies the laws of physics of
photography!
Your grasp of physics, optics, and video seem unbelievably flawed. The only way in which sensor size physically effects video quality is in relation to the size of the optics compare to the sensor, and in relation to noise. There is no physical law that says the bigger your sensor, the better your image looks. IF you are using optics designed for 35mm film, then the closer your sensor size is to 35mm, the more the optics will perform as expected, provided your sensor is positioned where the film back would be, however, there is no special "image quality" physical property that exponentially increases as the sensor gets bigger.
No I was talking about professional cameras with 1/3" sensors. OK,
you didn't get the hint that the huge DOF of the 1/3" sensors makes
focus pulling easier. I should have made that more obvious.
Once again, you seem to have a fundamental misunderstanding about how DOF works. The only time size matters to depth of field, is in the relative sizes of the lens and the sensor. IF you are using a 35mm lens, then the apparent DOF will change as the sensor gets smaller, however, there is no law saying you HAVE to use a lens designed for 35mm on a camera with a smaller sensor. You could always use a lens actually designed for that sensor, at which point there is no problem getting any DOF you want. You seem to have some horrible misunderstanding that somehow a big sensor has some magic DOF property that is a function of size. Are you seriously going to sit here and argue, for example, that it is impossible to get good DOF control on a Super 16 film camera? It has a "small sensor" too.
I encourage to stop laughing for a moment and actually think about
what you've said here. It's just a vacuous "reverse logic" argument
with no evidence behind it.
Because video is not just about the quality of a still image! What is hard to understand about this? Video isn't even really much about image quality at all. The vast majority of viewers can't even tell the difference between 720p, 1080p and 2K. There is only so much image quality you NEED if your video is going to be broadcast 720p. The quality of movement, the camerawork, the sound, and even how the shutter is implemented have a much bigger effect on the quality of a video than the number of pixels you throw at it. A still frame from a video might look fantastic, but if once you hit play it is a jerky, stuttering, drunken, shaky mess, that has sound that sounds like it was recorded at the bottom of a tin can, it is a bad video. No one is denying that SLRs can capture a beautiful still image. However video is about more than sticking a bunch of still images together. How the camera deals with temporal aliasing, how it handles motion blur, and how easy it is to hold steady over the course of a shot, are at least as important to getting an acceptable video as the size of the sensor.

--
The goal is to overcome the deliberate nature of the process.
 
I don't mean choppy and jerky in that way. I mean the "swimming" effect of the background to the foreground, and the temporal aliasing. For lack of a better way to describe it, the footage looks like it was shot at 48FPS, and then you threw away every other frame to get 24FPS. Not having one of the cameras to play with, my assumption of the cause for the problem would be that the electronic shutter duration is too long.

Whatever the reason, it gives the footage a very distracting and choppy look, without the motion blur the eye expects to see.

--
The goal is to overcome the deliberate nature of the process.
 
More people are making a fuss out of things they want leaving out
than features they want in! The idea that these cameras have been
perfected with every surface and button and curve to the highest
sophistication is really funny, considering these are not even the
top-of -the -range models and are purposefully limited by canon and
nikon! I carry my camera, not to take a photo but to tell a story, I
welcome any addition that will allow me to do that better.
So I guess you just completely missed my point (first paragraph) about how you are arguing what you want for your own use, which I say there is no argument against.
You should try a disposable camera, that has been designed from the
ground up with just one purpose, every curve, every knob...its there
just to take a photo, perfect.
Pointless as usual. You saying this to...I guess maybe insult me somehow because you have no point?
 
"We believe, and are developing for late 2009, a replacement for DSLRs. Currently, we call it a DSMC (Digital Still & Motion Camera).

While (insert code name) is not a replacement for Epic or Scarlet, it is strategically targeted at the DSLR space. As Nikon and Canon release their 720P and 1080P, respectively, DSLRs with video capture... RED has a more advanced view of the future. We look forward to rapidly pushing the "big guys" along in feature sets and capabilities.

"

what does he mean by as canon releases is 1080p capable DSLR?

anyway it appears they are in the know and that it'll either be in the new 5D or at least in the new 2009 cams from canon.
 
I don't mean choppy and jerky in that way. I mean the "swimming"
effect of the background to the foreground, and the temporal
aliasing.
This may be caused by your monitor's refresh rate. In any case the frames are just JPEG files so it should be easy to figure out what's going on.
 

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