Posted on 28. Dec, 2012 by planetmitch
Does shooting 4k video kill the photography business or is it just another tool? Here, we have a guest post from Abraham Joffe showing how he shot stills with the Canon EOS 1D C – but by only shooting video and extracting the stills from the 4k video itself. It includes many comments from photographers and videographers like Philip Bloom, Sue Bryce, and others.
Of course 4k video won’t ‘kill’ photography, 4k is expensive and requires a lot of resources, but Abraham’s post leads to a lot of questions – and it isn’t a new concept either. We’ve seen Vincent Laforet talk about taking stills from a Red back in mid-2011 and it was of course done way before that as well. But are photographers willing to spend time searching thru thousands of frames of video to find perfect stills. Not to mention the massive file sizes we’re seeing with 4k video coming off the Canon EOS 1D C and Scarlets etc.
Another interesting aspect of Abraham’s video is his use of “vertical video” – I recently was blasted over on youtube because I posted a vertical video that was just an iPhone video of the problems I was having with my new iMac – but some people are aparently very rabid about not watching anything that is vertical – “TVs are designed horizontally” I was told – well duh. But that doesn’t mean you can’t explore new avenues of expression. In fact, we had several stories back in 2010
- New trends in motion photography: Moving Portraits and Vertical Video
- Thinking outside the box ‚Äď tallscreen with the Canon EOS 5D Mark II
B&H is also sending us a Canon EOS 1D C for review in early january! Look for plenty of video tests from planet5D.
Micro Expressions: exploring motion image photography
An excerpt from the story by Abraham Joffe – read the entire article on his blog(and see the full size images there as well!)
It seems like technology updates and advances are almost an everyday occurrence these days with yet another new camera, tablet and phone model vying for our attention. It‚Äôs easy to glaze over whenever another tech announcement is made. Rarely do we see major shifts like we did with the release of the CD, DVD and iPhone. For the independent film makers and videographers of this world, nothing shook up the status quo quite like the release of Canon‚Äôs 5Dm2 camera in October of 2008. Suddenly, and seemingly out-of-the-blue, the look-and-feel of cinema was affordable to the masses. The shallow depth of field of its full frame sensor enabled anyone with a vision to shoot their story cinematically. It‚Äôs a well-known part of our industry‚Äôs history, but i feel its worth reflecting on again here. That is because i feel that the camera we have had the privilege to shoot with over the past couple of months reminds me of the last ‚Äútectonic tech shift‚ÄĚ we saw four years ago.
Abraham’s Canon EOS 1D C video:
Follow Abraham Joffe and untitled film works explore the exciting possibilities of “motion image photography” using CANON’s new EOS-1DC.With interviews with such industry leaders as Philip Bloom, Sue Bryce and many more.
Exploring how “photography” can be aided by capturing the moments through the moving image. Photographic genres include the areas of fashion, wildlife, wedding and portraits.
For a long time we battled with all the limitations that DSLR video brought with it ‚Äď lack of controllable audio and a way to support and stabilize it to name just a couple. We learned to overcome these obstacles because of the incredible payoff provided in the footage we were now able to capture. I remember shooting one of the first DSLR weddings with a 5Dm2 back in early 2009. The resulting film was short and gained lots of adulation, but the resounding voices thought up all the reasons it was impressive, but by no means a realistic alternative to ‚Äúprofessional‚ÄĚ video. The costly, and small capacity media, lack of time code, handling problems and lack of full manual controls were all problems people focused on. Now just look where DSLR video production is today.. countless commercials, independent films and even features have been produced on DSLR. Like many of you I have looked up to the work of people such as Vincent Laforet, Shane Hurlbut, Konrad Czystowski and Phillip Bloom just to name a few. I think the thing that is common to all these innovators is where many people just saw problems, they focused on creating solutions and using this new technology in ways people hadn‚Äôt thought of.
Enter the Canon EOS 1D C.
Ever since my first visit to the annual NAB conference in Las Vegas (where I first laid my hands on the Canon EOS 5D Mark II) I‚Äôve taken time each year to revisit. With the mammoth amount of information online during and after this Mecca of Film, TV + Broadcast expo, many colleagues asked why spend the money and effort to travel from Sydney Australia to go? Anything you‚Äôll see at the show will be online and in forums almost instantly wont it? Well, Yes. But apart from being a great chance to let whatever-hair-i-have-left down, there‚Äôs nothing quite like getting hands on and meeting the people at the cutting edge of tech in person.
The 2012 conference seemed to be the dwindling of the 3D craze replaced by the upsurge in 4K resolution offerings. After hearing Shane Hurlbut discusses his remarkably impressive ‚Äúthe ticket‚ÄĚ presentation, I shuffled slowly behind the Canon stage to where the new 4K 30 inch displays were being showcased. Suddenly my foggy pre-midday-Vegas-brain became alert ‚Äď What a picture! Seeing 4K resolution video projected on a screen is a familiar look, however, seeing crystal-clear vision of a steam train chugging through a ravine only inches from your face is completely different. For those who haven‚Äôt seen 4K resolution on a display for themselves, it simply is hard to describe. Its true what they say, it is like looking through a spotlessly clean window to the scene beyond. It‚Äôs truly remarkable. What was so impressive with Canon‚Äôs new 4K camera is the fact that it is a DSLR. 4K resolution (and higher) has been around for some time now through camera‚Äôs like the RED Epic, Scarlett and Sony‚Äôs F65. But never have we seen this kind of resolution in a DSLR format. I couldn‚Äôt wait to get my hands on one.
Just a few short months later, I was luckily enough to be present when the first pre-release sample unit was being unwrapped in the Canon Australia offices in North Ryde Sydney. What was even more exciting was being told ‚Äď ‚ÄúDo you want to take it out for a week and have a go?‚ÄĚ Many people celebrate ‚ÄúChristmas in July‚ÄĚ in Australia due to our scorching hot summers.. the Christmas spirit was not lost on me at that moment!
Along with our commercial and documentary project, untitled film works covers many weddings around Australia and abroad. The nearest shoot we had was a wedding in the beautiful Hunter Valley wine region that weekend. We decided to bring the body along and where possible shoot some test footage. Initially, apart from the extra size being a 1 Series Canon body, the look and feel of the camera was quite familiar. We rattled off several shots during the photo shoot, and apart from being super impressed by the quality of the LCD screen, we couldn‚Äôt tell in the field how the image compared to that of our Canon EOS 5D Mark III cameras.
Read the entire article: Untitled Film Works – it is well worth your time!
(cover photo credit: snap from the video)