I would actually like to start my A7s article with writing about the Canon 1DC…Since it came out during March 2013, the Canon 1DC was my primary working tool be it for broadcast (when ever I could choose the equipment to work with), documentary, corporate, or any other narrative project. The combination of a clean full HD full frame video or 1.3 crop 4K internal recording plus what I consider to be “irresistible colour and general warmth” gave me the maximum flexibility to be creative and cater my customers with what needed best for the project. On the downside, the hefty price tag prevented it from becoming a popular camera and further more, it always felt to me like Canon was treating this camera like the “stepchild” of the “C” family, meaning, no real meaningful updates that could enhance and simplify shooting experience like “punch-in zoom” while recording, peaking, or good internal audio quality to name a few. Those shortcoming forced me to always work with an external monitor or EVF, external audio recorder, plus a rig when needed.Read more
Shooting in 4K is just became popular then ever and certainly more affordable with the introduction of the Panasonic GH4. But how practical is it to shoot in a “real life production”?
In episode number 6 of our successful “ON THE COUCH” series recorded at NAB and hosted by my friend and colleague Nino Leitner, Rodney Charters, ASC, is questioning the necessity of 4K filming in modern digital cinema and TV productions. I admire Rodney and find his thoughts very interesting and extremely helpful, but from my personal experience and after getting the chance to participate as a DOP in a low/no budget production, I came to the conclusion that shooting in 4K (regardless to your final full HD output be it TV or web) is a must.
Shape is a small canadian company who’s VDSLR accessories I tend to use often.
Their products are high-quality, reliable, built well but tend to be a bit heavy.
Canon’s European pro video product specialist Paul Atkinson explains what “approved for broadcast by the EBU” means.
The big news is, that 100% content can now be shot on the Canon 1DC and be approved for broadcast. (the approved method is 4K content on a full HD timeline).
For those who are not familiar with the EBU (http://www3.ebu.ch/cms/en/home) here is a short description of what it is: The EBU is the world’s foremost alliance of public service media entities, comprising 74 Active Members in 56 countries and 35 Associate Members from a further 22 countries. Members of the EBU are radio and television companies, most of which are government-owned public service broadcasters or privately owned stations with public service missions.
When asked to produce/shoot and edit the promotional video for the 14th international Beethoven competition which will take place during June 2013 in Vienna Austria, it was clear for me that I will deploy my Canon 1DC for it and shoot a 4k master.
The process of pre-selecting candidates for this competition is a worldwide effort. Distinguish judges in different cities had to listen to hours of music played by different candidates. Since I am located in Vienna that’s where I joined them.
Recently, Canon announced the availability of the long-awaited 25p 4K firmware for its filmmaking-focused DSLR, the Canon 1DC (watch my Canon 1DC review video here and our comparison to the Sony F55 here). So far, the camera was only able to record 24p in 4K, basically making it irrelevant for any TV production in Europe and other PAL countries around the world (which rely on 25p/50i workflows and broadcasting).Read more
The Canon 1DC has generated a lot of fuzz when it was presented at NAB 2012. So far we’ve been waiting for the release of the camera (coming on January 2nd) and there haven’t been any real reviews yet. Here’s a new ad by Canon that shows the camera’s photo capabilities when taking a still from the 4K video it produces.Read more