After the Subway... there is no rolling shutter

Stu,

Where is the rolling shutter in your short?

Every "expert" says that you can't shoot fast action, or move the camera around, when you're shooting with a CMOS chip (especially the kind found in DSLR cameras). They say that if you do, your footage will be swimming in a sea of jello (and they have the jiggly video clips to prove it)!

Your short has fast action and camera movement, yet I don't see the jello-demon anywhere!

How did you do this?
Did you just edit all the jello out?

Anthony

It's there my friend, like crazy.

You probably just didn't notice it because I added it to the credits too! Smile

-Stu

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The DV Rebel's Guide

Ok, now I see it.
I was expecting the earthquake type rolling shutter that most people have been posting all over the web. This was much more subtle. Also the content of the short was so engaging that it distracts the viewer from its faults! Smile

So, I guess CMOS in still a no-no when it comes to shooting action. There aren't many CCD camera options in the full-HD prosumer market though. Actually, the HMC150 is the only one that I know of.

Oh well. Thank you very much Mr Stu for testing the camera on the exact type of subject matter that I wanted it tested on!!! Now I know for sure.

And, by the way, nice work! Very Happy

HMC, HVX, HPX170... those are just from Panasonic. I'm sure Sony and Canon have some - I'm just not up on their products.

I'd stick with Panasonic, for right now. It's pretty much a choice between the HMC150 and the HPX170, depending on how much cash you have to spend on the camera and recording media.

Stu,

By the way, if you ever get to test the-camera-that-shall-not-be-named-until-it-is-available-in-stores please be sure to hook-up with The Stunt People again! For me, a fight short answers a lot more questions about a camera than a subway short.

"like hot butter on breakfast toast"
LOL...rap reference for Stu
I just shot my short on my 150 and the RED and I am cutting it entirely from my HMC 150 footage, I ended up scrapping most of the RED coverage. The HMC is the Real Dookie, add cineform prospect 4k or any other cineform product that converts AVCHD and you are in bussiness. OH man I love the HMC i'm actually thinking about remaking RUN DMC's my addidas and calling it MY PANASONIC Very Happy

MY short is Called "JASMINE" I'll see if I can have some sort of short online screening so you guys can see what The 150 can do (as long as screen the film online doesn't disquailfy me from enttering it into the festivals I want to enter, if it does I'll just put up a trailer.)

by the Way Stu now that you are officially at RED GIANT can we get magic bullet products to work on 64bit systems? Please

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"Never let them see you bleed, Always have an escape plan"-Q

Sean

What was it about the RED footage that turned you off?

to be honest, i just like the way the HMC and my brevis with the Zeiss super speeds looked better. I mean I'll end up using the Red for inserts and some effects stuff but the film will be 90% HMC
in my oppinion after using the RED on 3 separate projects, I believe the cameras place is really in shooting effects plates. For "digital Cinematography" I think that the SI 2K is the camera to go with. The RED has its perks (um like a huge fan base) but It's not lived up to the hype of the RED cult.
Not bashing the camera, I use it, will continue to use it but it isn't the holy grail the marketing propaganda claim that it is

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"Never let them see you bleed, Always have an escape plan"-Q

interesting - could you expand on what you like about the SI 2K?