Why I Bought a 5D Mark III

Image courtesy fxphd.com

You probably saw this one coming. I just pre-ordered a Canon 5D Mark III from Amazon. Here’s why.

A Focus on Photography

I shoot a lot of stills with my 5D Mark II. It’s a great camera. But it’s a camera out of balance. The sensor can work in light so low that the autofocus system, inherited from the original 5D, can’t keep up. The 5D Mark II today is still a great camera—but its autofocus technology is six years old!

The 5D Mark III, on the other hand, arrives with Canon’s most recent and potentially most awesome autofocus system to date, the same one as the highly anticipated 1D X.

This plus the 6fps burst speed means the next time I’m chasing three-year-olds around Oakland with a fast 50, I hope I’m using the 5D Mark III.

Medium Megapixels

Speaking of shooting stills, I’m thrilled at the restraint that Canon showed in the 5D Mark III’s megapixel count. It’s barely bumped from the Mark II, meaning that all the advancements in sensor tech translate directly into reduced noise.

I’m not a resolution fetishist, and I still kinda miss the enormous, velvety-smooth pixels from my original 5D. So my hopes are high that Canon’s restraint reflects well in the 5D Mark III’s stills.

Moiré? Significantly Less Ré.

As much as I love shooting stills, video is a huge part of my purchasing decision. For the first time, Canon’s marketing directly addresses the HDSLR community’s biggest gripe about EOS video: the aliasing/moiré artifacts caused by the hasty downsampling off the sensor. The sample films we’ve seen so far back up Canon’s claim that the 5D Mark III features a dramatic reduction in these artifacts.

DPReview had this to say:

Although at first glance the video specifications of the 5D Mark III might look very similar to those of the 5D II, the results should be greatly improved. From our limited use, the new sensor shows much less of the rolling-shutter effect that was very apparent with fast movement on the Mark II. The more powerful Digic 5+ processor is also able to reduce moire artifacts in videos, giving cleaner output.

If this doesn’t turn out to be true, I can always send the 5D Mark III back. Pre-ordering now gives me that option. But I’m sure long before it shows up at my door, we’ll all be treated to endless “short films about charts” showing just how the Mark III behaves itself around tiny lines. I just hope some are as good as this one.

Sound On

The 5D Mark III is the first EOS DSLR to feature a headphone jack for audio monitoring. Embarrassing, but true. This, combined with the manual audio level control, might save me from a dual-system audio setup on some shoots. When you’re as lazy as I am, that’s a good thing.

The other thing that I like about Canon’s commitment to audio is the touch-sensitive feature of the rear dial. You can silently adjust audio levels while recording.

HD Out

Although the 5D Mark III’s HDMI out is not a clean, capturable 1080p, it is HD, which is not the case with its predecessor. This should make catching focus on my 5” Marshall LCD easier.

This is a real concern, by the way. One of the sneaky reasons it’s possible to manually focus your HDSLR off the tiny rear LCD screen is the very line-skipping that the Mark III allegedly does away with. The artificial sharpness of the poorly-sampled video we’ve grown accustomed to from our EOS HDSLRs causes in-focus detail to “pop” into crisp relief, acting as a kind of peaking focus assist. Unfortunately, this effect is permanently burned into your footage. If the 5D Mark III truly addresses the downsampling/moiré issue as Canon claims, the downside may well be that we’ll find it even harder to keep our crazy-shallow DOF shots in focus. An EVF or external LCD may go from a nicety to a necessity.

60p

Full-frame slowmo. Hopefully with less ré.

Last Longer

Again, quoting from DPReview:

The camera is also happy to record for its maximum 29:59 minutes without overheating risks in normal working temperatures and can split a single clip across multiple files so that it isn’t impeded by the 4GB file limit of the FAT 32 file system.

My Pants Still Fit

All of my existing support gear for my 5D Mark II and 7D will work beautifully with the 5D Mark III, including my batteries and chargers. No need to upgrade my Redrock Micro shoulder rig or my various other camera support gear.

Bigger is More-er

I’ve long characterized the 5D Mark II as the video DSLR that makes up for its technical shortcomings with gobs of sex appeal. Though I love so very much about the Canon C300, its Super 35 sensor is, you know, “only” as big as motion picture film. Once you get a taste for the sultry, soft depth-of-field control possible with a full-frame sensor, it’s hard to go back.

I don’t know about you, but when I feel a $3,500 purchase dimishinging my desire to make a $16,000 one, I go with that feeling.

Canon 5D Mark II For Sale

Seriously. It’s still an amazing camera, and I’ll probably get decent money for it, so although I agree with those who lament that the Canon 5D Mark III is “overpriced,” I can’t exactly say that it’s “too expensive,” because, looking less at the price tag and more at the upgrade cost after selling both my 5D and my 7D, I just ordered one.

If you do the same, and go through these links (Amazon, B&H), you help support my hasty decision-making and encourage future Prolost blathering. And your earn my gratitude. Thanks!

Update on Wednesday, March 7, 2012 at 11:22PM by Stu

The most important footage of a curtain you’ll see today:

It’s no Reverie, but it’s exactly what I would do if I had a minute with a pre-production 5D Mark III. Tõnis Liivamägi tries like hell to get the thing to moiré, and fails. The camera original clip is available for download as well.

Update on Thursday, March 8, 2012 at 12:00AM by Stu

Oops, looks like it’s curtains for the curtain video. But here’s a little peek (1:1 crop):

SpotCast

Ron Small of Sway Productions invited me onto his new podcast called SpotCast, which focuses on the craft of commercial directing. I’m in wonderfully good company there—he’s also interviewed Jason Wingrove, Adam Lisagor, and Vincent Laforet.

You can listen to the show at the SpotCast site, but really you should just subscribe in iTunes.

I very much enjoyed my chat with Ron and love that he’s taken on the task of this show. I like the way our episode turned out, and I hope you do too.

What I Do With My iPad Part 3: Read Screenplays

Final Draft Inc. announced yesterday that they’ll be releasing Final Draft Reader for iPad next week. The company had already warned us that they were scaling back their iPad efforts from a full screenplay editing app to just a reader. It will be interesting to see what they’ve come up with.

There’s nothing new about reading FDX files, the native format of Final Draft, on an iPad. Screenwriter and Fountain co-creator John August has an excellent app for just that. FDX Reader is a must-have for any screenwriter, and a model of iPad beauty and simplicity. But it lacks annotation features, so there is room for Final Draft Reader—if FDX files and their embedded “scriptnotes” are exclusively the world you tread in.

But of course, that’s not the case for most filmmakers. Most screenplays are shared in PDF format, and that’s a very good thing.

A Thousand Screenplays in Your Pocket

Before the iPad was even announced, I dreamed of a better way of reading screenplays. The only real option I considered was the (now discontinued) Kindle DX, which could correctly display PDFs and cost $489.

So for this reason alone, the price of the iPad felt “pre spent” to me on the day of the announcement. I knew that there would be some way that the iPad would become the powerhouse document reader I’d dreamed of. And it did—but not right away.

It’s painfully obvious that the iPad is good for reading. Maybe not as good as a Kindle, but darn good. Reading screenplays, however, is more than just “reading”—it’s work. You’ve promised to give a friend your honest opinion on her latest effort. You’re “breaking down” a script for production. You’re proofreading your own draft, checking for plot holes, misspellings, or colossal suckiness. Even if you’re reading a screenplay purely for fun, you’re reading something that isn’t a final product. You’re reading a recipe book while your stomach is growling.

All of these tasks require attentive reading and some form of note-taking. The very least I do when reading a screenplay is mark character introductions and major plot beats. When you’re watching Ocean’s Eleven, it’s never a problem to keep track of the characters. Brad Pitt is rather memorable, and quite distinct from George Clooney and Matt Damon. But when reading a screenplay, they’re not movie stars yet—they’re just “Danny,” “Rusty,” and “Linus.” You’re going to need some way to keep track of them amongst Frank, Reuben, Livingston, Virgil, Turk, Saul, Yen, and Basher. You’ll be forgiven for flipping back to that dog-eared page to remind yourself who is who.

No one reads a printed screenplay without a pen in hand. So a tablet that allows “reading” a PDF isn’t enough to replace a hardcopy for the work of reading a screenplay. We need digital dog-ears.

Of course, one could simply use a computer for this. But there’s something both awful and impossible about reading off a laptop screen. My computer feels like a thing to do work with. I lean forward to use it. It bleeps at my with distractions and beckons me to be productive, or to research how felines behave when video cameras are nearby.

The iPad, on the other hand, invites you to lean back. To not switch apps. To read attentively.

On my sixth day of owning an iPad, I wrote about my experience reading screenplays on it. I’d found an app I liked called ReaddleDocs. I’d bought, but was not happy with, the most popular iPad reading app at the time, GoodReader from Good.iWare. I found it ugly, clunky, and un-iPad-like—but I relied on it for its bevy of features that Apple couldn’t or wouldn’t include in the initial iPad release, such as Dropbox file access and handling compressed files.

A year and many apps later, the two apps I use for reading screenplays now? GoodReader (now $4.99) and a newer app from Readdle called PDF Expert ($9.99).

Pretty vs. Practical

Rather than build true PDF annotation into ReaddleDocs, Readdle instead chose to launch an entirely new app. PDF Expert does a lot of what GoodReader does, and it is much prettier. But I’m a little grumpy with Readdle for making me buy a new document-reading-and-management app rather than simply improving their existing one (like Good.iWare did with the orginally 99¢ GoodReader). I shared this feeling with them, and it obviously fell on deff ears—they recently released yet another PDF annotation app.

GoodReader on the left, PDF Expert on the right, both with their dismissible HUD UI’s shown. Click to enlarge.

Compared to PDF Expert, GoodReader still feels clunky and cluttered. It’s un-Apple-like in that it excludes no features for lack of polish. But it has been getting steadily better. And those plentiful features are pretty handy.

PDF Expert, on the other hand, is gorgeous. It’s also quite feature-rich, so it can be a bit daunting, but the taste level will be refreshing to aesthetically-sensitive filmmaker types. While this prioritization of prettiness is mostly welcome, it potentially fails the user in one very important case: the text selection widget—the tool you’ll be using more than anything else while annotating—feels a tiny bit laggy and tap-resistant compared to GoodReader’s unadorned iOS-native version. It’s pure speculation on my part that PDF Expert’s extra UI chrome is to blame for this of course. I’ve mentioned it to Readdle and they say they’re looking into it.

My favorite feature of both apps is, of course, Dropbox sync. Every time I get a new screenplay, I save it into a specific folder on my Dropbox, and then press “Sync” in GoodReader or PDF Expert. Not only do the apps load any new documents, they also save back to Dropbox my annotated copies. The annotations that GoodReader and PDF Expert add to PDF files are standardized and compatible, so I can open a marked-up scripts in Preview on my Mac and see—even edit—my notes.

GoodReader and PDF Expert have nearly identical popover windows for browsing your bookmarks and annotations. This makes going over your notes a breeze. If I’m sharing my thoughts on a script with the writer, I’ll sit with this window open and tap each note, which takes me to the correct page. It’s a live list of things to talk about.

Digital dog-ears.

The best notes-givers follow up an in-person or over-the-phone conversation with a emailed write-up of all notes discussed. Both apps make this wonderfully easy. You can email the annotated PDF, or a summary of your annotations, or both. The annotations summary is probably the “killer feature” of these two apps for me. The only bummer is that your page numbers will be off by one, since PDF screenplays tend to have a title page before page one. I have contacted both Good.iWare and Readdle to request a solution to this problem, which is not unique to screenplays. To their credit, Readdle replied, where Good.iWare did not.

Surprise: I Choose The Hot Russian Model

Very much due to their responsiveness to my feedback (not that they’ve implemented any of my suggestions—just that they replied), I now use Readdle’s PDF Expert almost exclusively over GoodReader. Software is about relationships. So PDF Expert gets my recommendation as the screenplay reading app of choice. Its polish, design, and the communicativeness of the developer is well worth the negligible extra cost.

I know there are many out there who accuse the iPad of being a “manufactured need,” a device that fills a gap that, for many, is a hairline crack, if it even exists at all. But for me, reading screenplays is something I honestly wonder how I ever accomplished before the iPad. With PDF Expert and FDX Reader already so well suited for the task, I somehow doubt I’ll be doing it any differently next week.

See also: What I Do With My iPad Part 1: Storyboarding, and What I Do With My iPad Part 2: Writing with a Keyboard

Update on Friday, February 10, 2012 at 4:47PM by Stu

John August has a great post today discussing the pricing of FDX Reader.

Pimp Your After Effects

Adobe After Effects is my go-to tool for most homebrew VFX and finishing tasks. It has the perfect blend of powerful features and editorial, layer-based ease of use. Is it as fast as a dedicated color grading system, or as responsive and powerful as Nuke for VFX compositing? No, but it offers a flexible, creative environment that’s tough to beat for the kind of creative, rough-and-tumble cinematic problem-solving that comprises most of my work.

After Effects is a professional tool by any measure, but it is designed for a broad user base. So an artist who plans to push it hard will want to tune the application accordingly. Here’s what I do to a default installation of After Effects to prepare it for my special kind of abuse.

Preferences

There’s a lot you can adjust within the standard After Effects Preferences window. Here’s what I set, and why:

• I set Levels of Undo to 99, because why should I expect to have fewer problems than Jay-Z?
• Enable Allow Scripts to Write Files and Access Network, so that you can run some very cool scripts. More on that below.

• I turn off Use System Shortcut Keys, because on my Mac, Command + M should map to Composition > Make Movie, not “purposelessly minimize the entire application in the most annoying way possible because I never learned Command + Tab for application switching.” This setting is a must for any Mac user who prefers using After Effects to hiding it.

• Under Previews, I set Zoom Quality and Color Management Quality to More Accurate. The latter especially matters if you use After Effects’s built-in support for a color managed linear-light workflow. You’ll see nasty banding during RAM previews at the default Faster display color management.

• Under Display, I turn on Show Rendering Progress in Info Panel and Flowchart. Although this may slightly slow down your interactive rendering, it’s worth it to be able to see what After Effects is doing under the hood. Be sure to expand the Info Panel vertically so that you can see the text display of the render activity.

• Under Import, you can set the default file sequence frame rate. I don’t know anyone for whom the cretaceous factory setting of 30 fps is useful. I set it to 23.976, but a PAL person might choose 25, and an NTSC nerd should probably choose 29.97.

• The After Effects Disk Cache (under Media and Disk Cache) is a splendid feature that is rightfully switched on by default, but you may want to both increase its size and choose a location for it on your fastest volume, preferably not the one where your media is stored.

• Appearances matter to pros, and under the Appearance section I always darken down the UI a bit,

• Turn on Cycle Mask Colors (so that each new mask you create will be a different color),

• And turn off Use Gradients. This UI preference was once offered to boost performance, but now is simply an aesthetic choice. I think After Effects, like almost everything, looks better without superfluous gradients. I wish Premiere had this option.

• Under Auto-Save, I always enable Automatically Save Projects.

• I Save Every 5 Minutes. Yep.

• And I set Maximum Project Versions to 20.

• Memory and Multiprocessing is one of the most critical areas for tuning your After Effects instal for the best results. Here you can make After Effects fly like a bird, or bring your machine to a crawl.

  And I have absolutely no idea what to do here. I’m not joking. The day I understand these settings is the day Adobe removes them.

  I would sooner fiddle with switches on a cockpit tour of a 747 I had just boarded for a transatlantic flight than touch this stuff.

Project Defaults

There are some settings in After Effects that are invisibly established as you use the application. After Effects will remember your choices and default to them in the future. Some I find important enough to preemptively set up.

• I choose File > Project Settings, and select Frames as the Time Display Style, and set Frame Count to Start at 1. You’ll still see a timecode display in your timeline, but the primary expression of time will be in frames, which is much easier for me to conceptualize and type. This is very much a matter of personal preference.

• Then I create a new Composition, and without doing anything else, I tap the Shift key. This brings up the Composition Mini-Flowchart, which is a really spiffy navigational tool that any Pro AE user should embrace. It solves the single biggest problem with After Effects—the lack of a visual way of navigating between Compositions. The problem is that, by default, it’s backwards. Find the menu button in its upper right corner and select Flow Left to Right, and never worry about this again.

Text Prefs

There is a secret world of After Effects customization. Like rigging your Nissan Skyline for NOS, this is purely an at-your-own-risk endeavor—but the rewards can be mighty.

Mac users will find the After Effects preferences file here:

/Users/[username]/Library/Preferences/Adobe/After Effects/
[version number]/Adobe After Effects 10.5-x64 Prefs

And Windows users here:

\Users\[username]\AppData\Roaming\Adobe\
After Effects\[version number]\

In those directories you’ll find a file called something like Adobe After Effects [version] Prefs. This plaintext file is editable with any text app. Use a search to find these areas and make careful changes. But don’t worry too much—if you corrupt this file, just delete it. After Effects will create a new one with the default settings. You can also make a backup of this file right there in the same directory. And eat your vegetables.

Here are the changes I make in the text prefs:

• "Show Tracker Apply Dimensions Dialog" = "0"

  By changing this from 1 to 0, you defeat the annoying dialog box that comes up after a 2D track asking you if you want to apply the tracker in X, Y or Both. You always choose both, because as a pimp, you know how to extract one dimension later if you need it. So save yourself the annoyance of being asked if you’re a doofus each time you track.

• "Cone Size" = "0"

  The text above this line gives you the clue as to what it does: ["3D Light Dimensions Preference Section"]. Here you set a number of “pixels” to use for the size of the spotlight cone widget in 3D views. No matter which size you choose, it will usually be wrong for what you’re trying to do. Unless you choose zero—in which (special) case, After Effects will draw the cone all the way out to the Point Of Interest, matching the behavior of most 3D apps. Nice.

• "Pref_TRANSPARENCY_GRID_COLOR1" = 00888888
“Pref_TRANSPARENCY_GRID_COLOR2” = 00666666

  Photoshop has a preference for setting the brightness level of the checkerboard backdrop used to show transparent areas in your image, but After Effects lacks this control—unless you’re elbow deep in this text file with a scalpel like we are now. Make the above changes for a nice dark gray checkerboard that better matches your gradient-free, subdued AE UI.

• "Mouse Wheel Zooms Around Pointer" = "1"

  Setting this to 1 will cause the scroll-wheel zoom to center around the mouse cursor rather than remain fixed to the center of the image. Although it can cause some disorientation at first, this mode is more like other apps with scroll-wheel zooming, and can speed your work by eliminating the need for panning around after a zoom.

Scripts

Scripting in After Effects is very powerful, and luckily for we minor nerds, its power can be harnessed with little technical know-how. There is a rich community of scripting resources online; some cheap, many free.

• An indispensable source of AE scripting awesome sauce is aescripts.com. Here you will find Load Project or Template at Startup. Drop this script in your Scripts/Startup directory and it will run every time you launch AE. And what it does is what it says: it opens a project file that you’ve specified. The same one, every time you launch AE.

  Why is this awesome? I’ll let the script’s creator, Lloyd Alvarez, explain:

  For example, if you have a certain folder/file structure or camera rig, etc that you like to keep for your AE projects, you can setup a virgin project the way you like it and save it as a template by giving it a .aet extension. Now every time you launch AE your custom setup will be automatically loaded.

  These .aet template files are unique in that, after opening them, you’re still in an unsaved, un-named After Effects Project. So you’ll never accidentally save over your template. My template contains camera rigs, folder structures, letterbox presets, and other goodies that I always seem to need.

  Price: Name your own price.

• I’ve written about BG Renderer before. It is just unbearably useful. Render in the background and keep working, or, better still, render in the background and go take a “walk” (an ancient Sanskrit word meaning “nap”), confident that your phone will alert you to a completed render.

  Price: $29.99 (for the version that supports alerts) and worth every penny. This is my first suggestion that costs money so let me be blunt: If this sounds expensive to you, you should have stopped reading at “pimp.”

• The DV Rebel Tools, once only available with the DV Rebel’s Guide, now free, are a set of scripts that turn After Effects into a powerful color correction and mastering tool. Learn more and download here.

• There are many more scripts that I use routinely, too many to list here. Be sure to peruse aescripts.com, and keep an eye out for the redefinery scripts. These are the after-hours work of Adobe engineer Jeff Almasol, who also helped me make the DV Rebel Tools a reality—and some of them are similarly based on humble requests by yours truly.

Pimpin’ Ain’t Easy

Settings will only get you so far. The fully-pimped AE setup will include custom hardware, third-party plug-ins, calibrated displays, special input devices, chairs with umlauts in their names, and espresso gear. But some of these simple textual tweaks will dramatically change your After Effects experience.

Now go on, brush your shoulders off.

New Super 35 Camera

Wow, today is a big day! A new Super 35mm camera has been announced.

Litterally.

Update on Thursday, November 3, 2011 at 2:47PM by Stu

I love the low frame rate on the product tour video.