Two of the most exciting things about the Canon C300 are the sharpness of the image, and also the "organic" or granular structure of the noise pattern the sensor produces.    

As I worked with the footage from "Mobius" with VFX and color correction – I noticed something I had rarely seen coming off a digital sensor.   The image structure, and notably the alpha channels looked strikingly similar to traditional photography/motion picture film (or negatives.)

You can read my previous post if you’re interested in a detailed opinion of where the Canon C300 stands amongst other cameras (notably the RED Scarlet/Epic, Arri Alexa, and Sony F3.)    

Below you’ll find a frame from Mobius – beneath it is the alpha channel (shot more tightly to emphasize important details) that shows two things:

1. The incredible sharpness of the sensor (1080p coming off of a 3.7K sensor) on the letters "Navigator" from the exact same frame below.

2. The granular structure the sensor produces. 

I can speak to this "organic" noise, following a half-decade of experience working in a series of darkrooms at the start of my photographic career (black and white film, C-41, and E-6) and regularly holding up a loop below a projected negative to ensure focus.

I’m also working on making "Mobius" downloadable on iTunes this week – both the finished product as well as a raw ungraded scene.  

For now, I’ll share with you a frame grab (click on the image below to enlarge it to its full 1920×1080 resolution) and you should be able to appreciate the incredible level of detail the camera offers.  Note that this is the RAW ungraded footage out of the camera. [Note: we used Scneider "Classic Soft" and "Sahara Gold" filters on the shoot, and on this shot]

Below you will also find a series of frame grabs off of a monitor.   

The only time that I have seen this type of granular structure in noise is with the Arri Alexa.   

I think that this just might be the future of digital sensors:  taking digital noise and giving it a more filmic or "organic" structure.  

While digital sensors are slowly closing the gap with film in terms of dynamic range – most don’t have the same granular structural beauty that film offers.  It seems that too is changing.

Below you’ll find another example of a shot made at the start of the film at sunrise.  The camera was able to hold (and exposed for) the highlights of the scene. But you’ll notice that the shadows still have an impressive amount of detail – deep down in the dark areas of the file.   

Read the rest of this entry »

Just last week Canon unveiled the Canon C300 and C300PL cameras.  A series of cameras with incredible sensors with  wide exposure latitude and incredible low light performance that shoot 1080p video up to 30fps on CF Cards.

A little over an hour later – Red announced the Scarlet camera.  An equally compact camera capable of 5K but in effect 4K at 25fps in full RAW mode.

After what had already been a huge news day in the film world  – Canon snuck one last announcement in:   Their Canon Cinema Concept camera – that shoots 4K.

As I saw the announcements coming out – I felt like I was witnessing a fencing bout between two camera giants.   Each trying to steal the other’s thunder with subtle parries and strong reposts.

The truth is: all 3 cameras should be of strong interest to all of us.   

I do have the benefit of having shot with all of the cameras mentioned in this post- quite extensively.   (Notably the C300, and although I haven’t shot with the RED Scarlet (it isn’t available yet,) RED tells me the image performance (depending on compression settings) will be identical to the RED Epic-M that I own and use regularly.)

First an important rule that I firmly believe in:   a two newspaper town (or 3) is much better than a one newspaper town.   I can speak from experience following my old newspaper days, that a one newspaper town has the paper’s staff become complacent far too quickly.  

Without competition, there is no desire to show the other paper up.

I can also say without hesitation that the Canon C300 has one of the top 6 sensors (and supporting processing hardware/chips) in the world.   Many people/bloggers out there are erroneously saying the 5DM KII can do as well- but they haven’t a clue, to put it very bluntly.    

I’ve tested both – extensively and side by side.  The C300 wins hands down- and that’s in relation to almost all cameras out there today (short of the very high end,) not just the Canon 5DMKII.   I look forward to putting some tests out there this week.

The Scarlet was a fantastic announcement as well.   It is the "Little sister" to the Epic – as Jim Jannard said.  

The big surprise:  a Super35mm sensor, and the price tag – under $10,000 for the body.   Closer to $13,000 – $17,200 depending on how you accessorize it of course.   (I’d have to add their gorgeous EVF to the package myself and then add a few 128GB SSD Cards which will add up quickly beyond the $17,000 price mentioned above depending on how many $1,800 128GB SSD Cards you need.   Don’t forget that the C300 shoots on compact cards that you already likely own.   Both cameras can thankfully shoot on Canon EF lenses – which will significantly help your pocketbook when compared to cinema PL lenses.)   This is an incredible camera to own for almost any filmmaker out there – and future-proof.   Not only will you be shooting 4K+ resolutions for tomorrow’s screens – but you will also be able to swap out the sensor with more modern sensors down the line – something that is in line with Jannard’s desire to never let your cameras become obsolete.  A small detail that you should pay big attention to.

Then came the announcement of the Canon cinema concept camera.    All that’s really been said so far is that it will shoot 4K footage and be optimized with a better codec (Motion JPEG) – though likely not a RAW one (but that still remains to be seen or clarified by anyone.)

So where does that leave us?  (The filmmakers that is.)

In short:  in a very, very good place!  

Competition can only benefit us.   We will directly benefit from having Jim Jannard and RED going toe to toe with Canon.  

And don’t forget Sony, Panasonic, Arri etc.    No one can afford to rest on their laurels in this fight. 

Trust me.  

I will leave you with a few last thoughts:

I had a fantastic set of conversations with a few key executives at Canon as we celebrated the launch of the C300 and the Premiere of Mobius at Paramount studios.

To their credit – they said, and stood firm that a $20,000 MSRP was warranted, given the quality of the sensor and technology of their camera.   On that point I entirely agree- and even respect them for not racing to the bottom if you will (of rates/prices/fees) as is unfortunately so often the case today.

That being said, I am also very well aware of the market today, and of the economy.   Apple has proven that they can make a significantly greater amount of money by selling cheaper versions of their Aperture and Final Cut X software on their Apple Store – than they did when they sold them at higher prices.   (They’re making a significantly greater amount with volume selling the software at a lower price point relative to the higher priced boxed versions to a smaller group of people that they chose in the past (the lower price- not the box vs download is relevant here.)

Read the rest of this entry »

 IMPORTANT NOTE:  DUE TO THE POVERWHLEMING RESPONSE TO THIS CALL TO ACTION  – WE ARE TEMPORARILY NO LONGER ACCEPTING SUBMISSIONS as we begin the process of reviewing submissions to date.  

We will announce when we re-open the submission process.  Thank you – Vincent Ladoret

Original post: This post is one that I’ve wanted to write for quite a long time.  

Now that “Mobius” is out in the open I’d like to send a call out to all screenwriters and storytellers.

During the past 18 months, and as a result in part of “Mobius” – I have had a chance to meet a lot of people in the film industry.  

As of yesterday, executives at two major studios, a few key senior creatives at a two large agencies have expressed interest in doing a variety of projects – all the way up to feature films.  

I am obviously incredibly excited with those prospects – but the one key ingredient that I am always on the lookout for is a great screenplay or idea.

Given the traffics that this blog gets, I have been waiting for the right time to put a call out there to screenwriters and fellow creatives.   My goal would be to keep this idea out there long term.   And here it is:

 If you have a good idea (either in treatment form, or as a screenplay – in either Word, Pages, or PDF form) kindly consider sending it to the e-mail address: production (at) vincentlaforet.com  – PLEASE PUT EXACTLY:  SCRIPT SUBMISSION in all Caps in the title/subject of your e-mail.

In doing so:

1.   _You will retain all copyright and ownership of the material submitted.  By submitting your script or idea – you make zero commitment to me or Laforet Visuals Inc. in any way.  There is no obligation to follow through on either end.  And you are not making any guarantee of exclusivity whatsoever.  You are free to do submit the same screenplay to other parties. 

2.     _Your screenplay will not be shared with anyone else outside of Laforet Visuals Inc. or on this blog or anywhere else without prior written confirmation from you.

3.    _ You must be the original author (or co-author) of the material.

4.    _ All rights, fees etc. will be negotiated once we mutually agree to move forward together on a project.

5.     _My goal  is to make this as close to a zero risk offer to screenwriters and storytellers that I can make – with no downside potential whatsoever.

6.     _ If you do not have a screenplay – but know of an incredible story, or one that you’d like to have adapted – I welcome that as well.  I do know a few extremely successful and talented screenwriters – not to mention studio heads with a wide array of talented people at their disposal.

       Lastly – I’m adding this point after the fact:  I am fully aware that there are legal ramifications with soliciting scripts in the manner.  I always have been.   I do think that times are changing and that new business models, and ways of discovering talent, ideas and people are burgeoning as a result.  And I am embracing that fact and moving ahead.   I may need to forward your script to a third party first (an agent) prior to contacting you.  Either way – I will get your permission to do so should that be necessary.  This request is  but a first step.

       Two more things:

       I have already received 50 submissions today alone.  So kindly don’t expect a reply until we’ve been able to read through the material.

       Lastly – and most importantly – this is an open call that has no short-term deadline.   Consider this an open ended call to entries long term. 

I’m Many of you may not know that you can register and protect your screenplays (and ideas) by going to the WGA and others.   This gives you a good piece of mind that the scripts your send out won’t be turned down and mysteriously appear on screen with some other writer’s name in the titles a year later.   I recommend you do so for all of your work.

Here are the three types of content that I am looking for:

1    _30-60 second spots.   Companies are regularly coming to me to do promotional videos for them – including ad agencies.   These are all too often last minute – and rarely allow for the development of a good script.  Having a few at the ready is a good thing.

2.     _Short films – no longer than 20 minutes in length.

3.    _Long form narrative films.

Read the rest of this entry »