A look at some of the features in the 5D Mark III, primarily from the still photographer's perspective:
The defective rear power switch lever that used to knock itself to OFF all the time has been put where it belongs, on the top of the camera.
1987's Canon EOS 650 had this correct with the switch on top; I'm unsure why Canon ever botched this on most of their now-obsolete DSLRs.
Extent of rolling shutter reduction on 5D Mark III | Andrew Reid | EOSHD
The original video has now been removed, but Andrew looked at this comparison between the 5D Mark II and III and says the III reduced rolling shutter by half:
The 5D Mark III is a (expensive) refinement of a great cinema camera. As we know, ISO performance is almost clean at ISO 3200, and much improved at 6400 and 12,800. Aliasing and moire are reduced. There’s less false detail. The codec is fixed big time. HDMI no longer drops to 540p and so is much better for monitoring.
Canon EOS 5D Mark III questions | Planet 5D
Some questions are answered by Canon's Chuck Westfall:
Q: I’m curious about the move up to 22.3 mp – it isn’t that much of a move from 21.9… so why change at all?
CW: There were several considerations, but the biggest one had to do with the substantial improvement of video quality along with overall image quality.
Welcome to Pahrump Nevada - C300 selects | Mike Collins | Vimeo
Nice shots in the desert with the Canon C300:
A quick assembly of shots from last weekend's shoot in Pahrump Nevada, roughly an hour from Las Vegas on the way to Death Valley. Shot on the C300 with the Sigma 30mm lens. Graded in Magic Bullet Looks.
CineGrain: A Film Grain ‘Plug-In’ In Your Pocket | Patrick Inhofer | Tao of Color
Patrick has put together a 43 minute video for this film grain tutorial:
I’ve recorded an extensive Video Review and Tutorial on Cinegrain. I’ll show you what they’re selling and then take you through how to use it in Final Cut 10 (using Overlay Modes and manipulating the Color Board to customize the ‘Look’ of the grain)… and then I’ll do the same thing in DaVinci Resolve (using the footage both with Composite Modes and as an External Key). At the end of the video I’ll let you know if I think this product is a good buy for the money.
Is Converting a Photo Zoom the Answer? | Den Lennie | Blog
A look at converting a Canon 70-200mm lens to a cinema lens for the NEX-FS100. Ultimately, it's a costly conversion that has several drawbacks, but, as he notes, there aren't many other choices:
The other main concern is that when focussing at the long end of the focal length ther's still not enough real estate to pull focus effectively. So while the physical mod helps it still only partly solves the issue.
TV News Shooters Can Turn Their Hand To More Than Just News | Rick Macomber | DSLR News Shooter
TV News shooter Rick Macomber talks about converting from news to DSLR shooting, and how shooting with a DSLR effects his news shooting style:
I think differently these days. When I shoot news with a broadcast camera now I place my subjects much further away from the lens. I zoom in as much as possible. I use the shutter; the ND filters – anything I can to cut down the amount of light getting in so I can shoot wide open and fool the camera into giving me shallow depth of field. And I light so it looks as though it was lit by Mother Nature. Minimal but adequate so I have just enough light to make my image LOOK like film – even though it’s TV.
Guest Post By: Roman M France On New Cameras And Lighting | Roman M. France
| Wide Open Camera
Continuing their it's-not-about-the-gear series of posts at Wide Open Camera, some thoughts on lighting:
What separates the amateur DP from the Hollywood DP? Gear? Sure. We can’t afford to take 30 18Ks to the depths of the desert like my man Roger Deakins, ASC, BSC, but it’s also knowledge. Lighting can make or break your film. Lighting sets the tone and adds another layer to storytelling. Knowing where to place your lights and more importantly WHY to place them there is everything. What’s the conflict in the scene? What’s really going on? What’s the tone of the scene?
Shoot It! Hollywood Inc and the Rising of Independent Film | to 411 Daily
Director Gus Van Sant is one of numerous directors and filmmakers Spaner interviews for his new book Shoot It!: Hollywood Inc. and the Rising of Independent Film:
In a surprisingly candid interview, he told author David Spaner that he’s looking to go digital to make no-budget films outside of Hollywood. He’s come to realize that the dumbing down occurs everywhere in the industry in the U.S., even with smaller film companies because everyone has learned their craft with the big studios.
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