Now featuring just one Ninja claw

When asked to describe shooting video with the Canon 5D Mark II, I responded that it was like being offered a backrub by a supermodel — who’s wearing Ninja climbing claws. In other words, it seems like a gift from heaven at first glance, but the actual experience is pain unimaginable. But still, you get to hang out with a supermodel…

Today one claw has been removed. Canon announced and released a firmware update that enables manual control of shutter, aperture, and ISO in video mode.

But we are still limited to 30p. No mention of 24p in the announcement.

I’ve been accused of being a “fan” of shooting video with the 5D Mark II. Nothing could be further from the truth. In fact, what I said was “With 24p and manual exposure control this camera would be of use. Without those adjustments, it’s a tantalizing but ultimately frustrating curiosity to the DV Rebel.”

So for the record, the Canon 5D Mark II is still not “of use” to DV Rebel filmmakers.

(Unless your whole film is in 25% slow motion!)

So, thanks Canon, sincerely, for listening, and for getting us what you could, when you could.

But your work is not done.

A camera that does not shoot 24p is not an acceptable filmmaking tool.

Update on Tuesday, May 26, 2009 at 7:39PM by Stu

Oops, got fooled by the link on canonrumors.com — the firmware update will be released on June 2nd. Thanks @divergentshadow for the correction!

Update on Tuesday, May 26, 2009 at 10:38PM by Stu

The more I look at this poster/press release, the more annoyed I get. To make it so film-industry specific, and to be so “we heard you and we did what you wanted,” but ignore 24p… Arg. It’s insulting. Yes, web video and NTSC TV can be produced at 30p (although no narrative episodic is) — but the thing specifically mentions “enthusiasm by major motion picture studios, independent filmmakers.” Those folks need, not want, need, 24p.

Rated A for Almost, but not quite.

Would you like a little camera with your mount?

The Panasonic GH1 is finally available for order on Amazon and B&H Photo (although with a wait time of 1–2 months, I’d call that pre-order). This little camera is getting the attention it deserves as the first biggish-sensor, interchangeable lens stills camera that takes video seriously.

A big part of that seriousness is the lens. Designed from the ground up as a true hybrid still/motion lens, the kit zoom on the GH1 has an impressive range, optical stabilization, smooth autofocus, stepless aperture, and near-silent operation.

Sadly, the trade-off is that the GH1’s kit lens is slow as molasses, with a maximum aperture of f/4.0 at the wide and and a pinhole f/5.8 at the long end. If the GH1’s 4/3 sensor is the key to shallow depth-of-field, the kit zoom is a big wad of stale gum shoved in the keyhole.

Sure, there are some faster lenses for the GH1. Like this 24mm f/1.4 from Panasonic. For a mere $1100 you can have a fast prime that eliminates many of the above advantages of the GH1’s video mode.

Yes, more and cheaper Micro Four Thirds lenses are on the way, and one hopes that many will offer the video features now exclusive to the MolassoFlex 14–140mm. But in the meantime, folks are going crazy creating adaptors for the GH1.

And with good reason. The flange depth (what?) of the MFT format is very adaptor-friendly. Perhaps this is no better illustrated than by this beast:

This is a prototype PL-mount adaptor created by Illya Friedman of Hot Rod Cameras. I played with this at NAB (on a G1), and what struck me about it is that the mount is so much more heavy and substantial than the G1 body that you actually must wield the camera by the mount! And in fact the actual production model will have mounting points for a plate and rods. Add a PL-mount lens to the mix, even a small one, and you’ve got a rig where the camera body is a negligible part of the form factor.

Personally, I think there’s some real usefulness in a camera that can switch between full pain-in-the-ass cinema mode with big-money glass and follow-focus rigs, to stealth run-and-gun mode with truly useful autofocus and yet full manual control over iris and shutter.

The GH1 may not be perfect, but it is by far the most interesting camera on the market right now from the perspective of this DV Rebel.

If you want to learn more about the Hot Rod PL adapter, contact Illya at illyafriedman@gmail.com.

If you order the GH1 from Amazon or from B&H using these links, then beer is on me.

Philip Bloom's GH1 First Impressions

In a nutshell, he loves the camera, appreciates the video-specific features of the kit lens, but laments its slow stop. Worth a read, and of course a look at the video:

I’m a little confused by the lack of a subway, but it beats this!

[via comment by Ivan Babko]

Panasonic: Let Filmmakers Help You Sell the GH1

Everyone’s probably heard the story of how Vincent Laforet came to shoot Reverie. He just happened to be at Canon USA, happened to see some boxes come in, happened to recognize what they were, and in his patented never-take-no-for-an-answer way, cajoled Canon into loaning him one pre-production Canon 5D Mark II body for one weekend. With his unique resources, ingenuity, and eye, he cranked out the short heard ‘round the world. DV Rebel filmmaking hasn’t been the same since.

How many 5D Mark IIs did Reverie help sell?

Meanwhile, filmmakers excited about the GH1 get to look at this crap:

Hey Panasonic: Get your GH1 into the hands of some filmmakers! You’re the first stills camera maker to take video seriously. How about you take your marketing seriously and let someone with filmmaking chops show the world what the GH1 can do?