Saturday, September 11, 2010

More on the Panasonic AG-AF101

Panasonic Europe posted a short interview with Barry Green about the new camera. In case you didn't read his write-up about it on dvxuser, he loves it! (you can read his write-up about it at dvxuser here: hands on the Panasonic AF100. [I don't know what lighting/camera they were using to do the interview, but it's some pretty awful video; his forehead is badly blown-out!]

Pricing: The 4/3 Rumors site says 5,830 Euro ($7,390) including VAT: UPDATED: Panasonic AG-AF101 with 1080 60/50p and for 5.830 Euro (VAT included)! [See UPDATE Below] updated their post about the camera, with these comments about some video they saw shot with it:
Someone from Panasonic in Germany shot a performance/theatre piece, with lots of nice shallow depth of field, and not a lot to trouble the codec. But, the pictures looked very filmic, there was no video harshness, the colours appeared to be very accurate. It was restrained, not flat, but not in your face.

Product Highlights, pictures, and a few specs: Panasonic @ IBC AG-AF101
PDF Two-page brochure: SP-AF100PRE3.PDF

Press Reelease: Panasonic introduces AF101 camcorder to European market at IBC Unfortunately, no official release date or price is listed!
Film and Video Producer, Barry Green commented: "The AF101 promises a huge step forward for cinematographers who want a cost effective camera that delivers the look and feel of 35mm film, but without all the compromises and headaches that come from shooting on DSLRs. It lets filmmakers and video professionals seamlessly achieve the cinematic look they've long sought after, without having to resort to using light-hungry add-on lens adapters, or trying to work around the shortcomings of using a stills camera for a video application.”

Panasonic IBC Blog: Barry Green

European Technical Product Manager at Panasonic Europe, Luc Bara, gives insights on the Panasonic AF101 camera, global premiere from Panasonic at IBC 2010.

HD Magazine says the camera uses a new sensor (not the one from the GH1) the camera is available for pre-order, and it's 4990 Euro ($6,325 US): IBC 2010 Shorts - Day Two

Friday, September 10, 2010

No sign of NEX-VG10 at Sony Store

With the rumor that the Sony NEX-VG10 was shipping today from (some?) locations floating about, I stopped by the local Sony Style store to see if they knew anything about it.

They didn't.

There were none in the store.

When I asked someone there if he knew when they'd have one, I got a roll of the eyes and a reply that was something akin to "Wouldn't we all like to know the answer to that one..." When pressed, he said "Maybe by the end of the month?" but framed it like a question, and didn't sound too positive. I wasn't sure if that was because he thought they might come sooner...or later.

Interestingly, on the Sony Style website, the camera is listed as BACKORDERED.

More News

Barry Green at dvxuser got his hands on the Panasonic AF100:

I am sooo not disappointed. They have built pretty much exactly what I was hoping for. There are things I'd like to see added before it's released, obviously, and no we didn't get some of the wild things we were hoping for (like a new 50-megabit 4:2:2 AVC codec) but what we did get is pretty much exactly what we needed – better-than-DSLR imagery in a professional, proper video body, with all the conveniences and features that pro video shooters are used to.

Sony 35mm Digital Motion Picture Camera
Meanwhile, there will be an unveiling of Sony's next generation 35mm Digital Motion Picture Camera at the New York HD Expo on September 21st at 7pm. R.S.V.P. as seats are limited.

Red Giant Denoiser

Red Giant has released a video noise removal plug-in called Denoiser. It sells for $99 and works with Adobe After Effects CS5, CS4, CS3 and Apple Final Cut Pro 7, 6.0.2. There's a trial version available.

I already have Neat Video's plug-in, but was curious to see how the Red Giant filter compared. I compared them both on a really noisy clip (you can also use these to remove subtle noise, but particularly with video re-compressed and uploaded on the web, those subtle effects are often lost anyway.)

This quick test revealed similar results, but with a couple of important differences. Denoiser produced very good results by just adding the filter to the video. To get similar results with Neat, I had to go in and produce a profile for the video: to produce a profile you have to select part of the video frame that is - ideally - a single contiguous color region, the larger the better. Producing a profile isn't too difficult and doesn't take long at all; providing you have a good part of the scene you can select. But if I just applied the filter, Neat Video doesn't do nearly as good a job, so for out of the box ease-of-use, Denoiser seems to be the winner.

Both filters let you manually adjust different parameters, few of which I fully understand (Neat options include: Temporal Filter radius, filter threshold, Mix. Denoiser options include: Noise Reduction, Motion Estimation, Enhancement, Sample Current Frame (with additional options), Mix)

Red Giant has a great video tutorial that takes you through these parameters. I tried experimenting with the parameters, but couldn't find I could get it much better than the defaults. I could get it different, but I wasn't necessarily sure I liked it better. At a certain point, these noise reduction algorithms seem to end up replacing the noise with different combinations of blur and patterning. You might prefer one setting over the other, but it's difficult to say which one is "right" or "better."

Frankly, I don't spend a lot of time tweaking Neat when I use it, so if I'm honest I probably would work the same way using Denoiser. Also, I find that I need to see the video itself, which means rendering each time after adjusting parameters, which brings us to performance; Speed wise, both take a bit of time to render, but on a 2.53 GHz Core 2 MacBook Pro, rendering this 8 second clip took Denoiser 9 minutes while Neat took 4.5 minutes, which is a significnat difference.

The price of both these filters is $99. There is a cheaper "Home" version of Neat available, but it only does resolutions up to DV size.

Red Giant's Denoiser filter seems to do as good a job as the Neat Video plug-in. It's slower, but it does this without having to create profiles. For that reason, I probably would recommend Denoiser slightly over Neat, but it's not enough of a difference for me to plan to buy Denoiser given I have Neat already.

Enlargements of part of the frame

Noise Reduction Comparison from Michael Murie on Vimeo.
Sample video. You probably want to download the original file from Vimeo to really see the differences.

Red Giant: Denoiser & Tutorial
Neat Video: Neat Video

IBC Announcements and News, Sony NEX-VG10 shipping?

IBC, a big media show in Amsterdam, starts today, and week after next is Photokina (typically still camera show) so there should be a few interesting developments over the next couple of weeks.

Panasonic AF100
As expected, the AF100 / AF101 large sensor video camera from Panasonic is being shown. Urbanfox blog has some pics and information. Lots of people are repeating the 4,000 pound price, (that's about $6,000 USD), and many think this could be the DSLR killer (i.e. it provides the large sensor, shallow depth of field that DSLR sensors provide, but in the form factor/feature set of a video camera.) It may also have lower aliasing and less rolling shutter...

All wild speculation at the moment, and the price is a consideration too; I think a percentage of DSLR buyers are attracted to the DSLR's by the comparatively low price, and don't think about the money they'll end up spending on lenses and accessories...

Sony has announced Vegas Pro 10, featuring native stereoscopic 3D video editing, improved Closed Captioning, workflow enhancements and new image stabilization tools.

Sony is also showing a new XDCAM, the PMW-500. Way too expensive for me.

AND, reportedly, the Sony NEX-VG10 is shipping today. The Amazon page says it's "In Stock" though that's listed with a third-party shipper at the moment. NEX-VG10 Full HD Interchangeable Lens Camcorder

Thursday, September 09, 2010

Corbin Bernsen

According to the bio at IMDB, "Rugged, hirsutely handsome Corbin Bernsen blazed to TV stardom in 1986 on "L.A. Law" (1986) as opportunistic divorce lawyer Arnie Becker." I was probably more familiar with his appearance in Major League, and his role as the father of the main character, Shawn Spencer, in the TV show Psych.

But Bernsen is also intensely interested in independent film, having produced several including Carpool Guy, and 25 Hill which is about the All-American Soap Box Derby and is currently in post-production.

Bernsen's speech at the Canon Expo was perhaps the most unexpected one I attended; he may not know the details of the technology, but he's madly excited about what it makes possible. As he says; he just get's his kids to explain the technology to him. He's also a bit of a wheeler-dealer; always looking for ways to fund movies, whether that means thinking about target markets while writing the script, working on cross-promotion, or even wondering if an idea might work as a commercial. Normally that kind of thing turns me off, and yet it didn't in his case; perhaps because he was so up front about his methods.

Corbin Bernsen on 3D, independent film and how new technology enables people to make them

The following quotes are taken from his speech:

All of this is great, wonderful technology. The one thing that I still warn kids about is to tell story. Doesn’t have to be in the narrative form that we know, but there has to be something that compels an audience to go forward.
Believe it or not, I don’t care how big you get, people always look at you as an actor, "that’s okay, and we like your little story, but no, you can’t have money." They don’t trust us. So I had to find these alternative ways to get money to make these movies.
It used to be the thing [that] anyone who’s got a video camera can make a movie. Well, yeah, kind of... [but] you take the 5D or 7D, anybody can make a movie and they can make a movie that can be shown anywhere. You have to make sure the sound is good, you have to have some good acting, you have to have that story, but people can buy the equipment and make a movie for 20 grand.
The point is, the barrier to entry to make an independent film is just way down.
I’ve heard of another actor on a show with a couple of numbers in it, who when they brought the 5D to set, said “I’m not acting in front of that thing,” because it didn’t look enough like a camera.
The other thing that a lot of people don’t know is that with independent film, every time you shrink something down, you shrink everything down. So the camera department gets a little bit smaller, the crew gets a bit smaller, the number of people you have to cater gets smaller and everything becomes less expensive, which is also going to help a lot of these kids make movies.
Typically, the [film] cameras are too big to cross shoot, but with the 5D and 7D, I envisage a set where you can have three, four, five cameras going at once, and for me, as a director, it’s great, because everybody is reacting to the same thing. [...] and you could conceivably shoot a scene in a quarter the amount of time, which again, in independent film, brings the cost down.
With the 5D and 7D, and it’s ability to deal with light, which is extraordinary, and extraordinarily different from everything out there. I’ve seen stuff that was just point and shoot that was exquisite.
[Shooting in Canada with the 5D] The remarkable thing, beside it looking really, really nice, is that the RED froze all the time - it was 30 below - but the 5D just kept working. Now maybe part of that was you could keep it in a nice warm spot.
I’m a story freak. Script is everything to me. [...] That said, as much as I like story, and I think story pulls you forward, there may be a new art form that emerges. And who are we to say, a combination of music and images and 90 minutes, and a little bit of a story, and oh that feels a bit like Romeo & Juliet, but it doesn’t have all the twists, turns, boy meets girl, boy looses girl, you know. Who’s to say that, if it’s entertaining, that it’s not valid.
Darren Aronofsky, I think he makes exquisite films. I think the stories suck. And you can quote me on that. I think he makes exquisite movies. I think The Wrestler was a wonderful, great Mickey Rourke vehicle. The story? There just was no story. The other one before that, Fountain. Exquisite movie. I can watch it, I sit through it and my kids love it. But I don’t see a story. I don’t see the narrative story that I’m used to.
It’s all great. By the way, we aren’t making movies like Charlie Chaplin used to either. We’ve moved. Entertainment, technology, the way of expression, that’s all changing, and I embrace it all. At the end of the day I have one piece of criteria, and it’s this; does it work, or does it not work? Not is it good or is it bad, that’s a qualitative judgement. Does it work? There’s something human about us when something works or doesn’t work.
I tell this to young actors and filmmakers. Don’t just go and make something that only you care about. First and foremost, take your story and make it universal.
I try to make sure that there’s eight tracks. Eight ways I can go out socially networking a film. That’s sort of our internal thing. And I do that as I write the script. It’s nothing new. Hollywood sort of does it, they just generally do it with actors and names.
Feed your crew well. It’s surprising.
One of the things that makes me grow during the production, more than anything, is being faced with problems. Finding those solutions, and finding them quick, it just makes you think. Sometimes, I get on these big Hollywood movies and it’s just “ah, the door’s not right, let’s just have lunch, we’ll come back at three,” On a little independent film, if the door’s not right, she goes out the window.
I have no problem with art and commerce crossing. None whatsoever. I’d love to see a commercial that’s nothing to do with a product, and just a little short on TV, instead of some of these ridiculous, ludicrous commercials. Just be something great for thirty seconds, brought to you by so and so. I’ll go buy that product quicker than I will from some stupid commercial.

Wednesday, September 08, 2010

Bruce Dorn

Bruce Dorn has been a director and cameraman since 1980. He thought he'd retired from motion picture work a few years ago, but then, in his own words "along came the Canon 5D Mark II with this incredible HD functionality." He's a Canon Explorer of Light and travels throughout the country lecturing and teaching workshops, as well as shooting various projects that interest him. His company, iDC Photo Video, is now selling some rigs and follow-focus units he developed. The following comments are from his talk at the recent Canon Expo:

It really is quite a challenge to do this z-axis focus pulling, but you know what? Skill is the new black, we’re back to learning how to do manual stuff again.
Manual focus is how we control the viewers attention. The trick on manual focus is; don’t over correct. You go until it feels sharp and then leave it. The last thing you want to do is rock and roll. Indecisiveness is not rewarding.
It’s a challenge to work with extreme shallow depth of field, so some filmmakers have actually discovered when they’re working with the 5D vs the 7D that they need to stop down just that little bit more so they have a little fudge factor on their plain of focus.
I’m going to be repeating one theme throughout the afternoon; practice, practice, practice. You know it’s funny, you wouldn’t buy a violin and immediately call yourself a violinist, but you might buy a camera and call yourself a photographer.
If you want to learn something about camera operating, find something that moves in a rapid and random manner; if you don’t have some wild horses in your neighborhood, find a local kid who’s hyperactive, feed him some sugar…
Make sure you run at least a fifteen second clip so you’ve got a little head and a little tail to work with.
If you’re shooting something on the fly and you don’t have any time to think, maybe use Auto White Balance, otherwise I’m going to strongly suggest that you familiarize yourself with the Kelvin temperature scale and work with Kelvin. The last thing you want when you’re doing a sequence of shots in a room, is for it to change color balance on every single clip. You’re going to increase you’re post production difficulties if you do that.
The high ISO capabilities means that for interior scenes we can now work with small LED light sources. Frankly, I think the smart way to do a scene is to go into a room, see what light you have there, pop off a test exposure, and then fine tune the light with the minimum number of instruments.
All of the normal automation styles, Av, Tv, Program are available in video. Don’t do it! Everybody raise you’re hand, say “I promise not to use the automated modes.”
The Picture Style that most serious filmmakers have landed on is Neutral. This is the least amount of in-camera processing, and this will give you the closest thing to a RAW workflow for your video capture. Now its going to look flat, desaturated, and not terribly sharp, it kind of looks ugly out of the camera. You gotta get used to it. What you want is put your sharpening and your saturation and your contrast in after the fact, when you can more finally tune it.
I just want to make a case for the f/4 lenses […] especially now that the ISO has gone to where it is. The f/4 lenses are a bargain and they’re incredibly sharp. So whenever you’re thinking that your wallet might be smoking, look at the f/4’s and maybe it will start to simmer down a little bit.
The camera’s have the capability to understand what lens is mounted to them [...] if you activate Peripheral Illumination Correction it will correct some lens aberrations that were too expensive to correct in the manufacturing process.
Macro lenses: How do you decide which one to pick? I have a simple formula, note this well; if it bites or stings, use the 180.
There are a few producers - actually I’ve worked with a couple of them - who think that since the camera is inexpensive, the production doesn’t need to have any money spent on it, and somehow it’s still going to be brilliant.

I spent two weeks eating Slim Jims from the craft service table because that was the only food the producer made available. And they don’t make you slim, amazingly enough.
[Using the 5D on a music shoot] They had ten Sony F900’s under the control of a live director and I was a wild camera. The word I heard back from the producer was, angrily, it was hard to cut from the Sony stuff to mine because the 5D footage looked so much better than the hundred thousand Sony’s.

iDC Photo Video

B & H release HDSLR Guide

NOTE: In case you hadn't guessed, I'm a B & H affiliate

B & H has released an HDSLR Guide. Click the big START button below and ignore the exploded diagram of the HDSLR rig (that just takes you to a search for different gear on their website.)

Click on the "Free in-depth Interactive Guide - READ NOW" button.

This pops up a separate window with the Guide. The guide itself is divided into sections (just like a book!) with chapters on The Camera, Lenses, Filters, Matte Boxes, Focus Control, Monitoring, Camera Supports, Remote Operation, Recording Media, Audio, Post Production, Technique, and Video Basics.

Although I've only skimmed through it, there seems to be a lot of content there (the lens section even covers "Focus Breathing" so it goes into quite some detail.) It may, of course, be too much detail for the newbie, and just end up confusing them (sometimes when starting out it's easier to just be told "do this and this" rather than being given every pro and con of every option) but I gotta give B & H points for trying.

Screen from the HDSLR Interactive Guide

Tuesday, September 07, 2010

Rule Event: Adobe Creative Suite 5: SEP 8

Dennis Radeke of Adobe highlights the new Adobe Creative Suite 5 Production Premium software.

Time: 10am - 12noon
Where: Rule Boston, 395 Western Ave Boston MA

New Sony XDCAM EX products at IBC Expo?

Tantalizingly, Rule Boston advertises a Learning Lab event for Sep 15 with the following:
Kaori Uno, Sony Product Manager for XDCAM EX, will discuss new workflow techniques as well as new products introduced at IBC Expo 2010
Will this be something major, or just minor upgrades to existing products?

Rule: Events Page

Canon XF100 & XF105 Report

The Canon XF105 was on display at the Canon Expo, and though it and the XF100 aren't going to be available until early next year, they had functioning units to look at, and were able to demonstrate the features. However pricing and final functionality are still being nailed down.

Pricing and Positioning
It seems that Canon will be pitching these as the "cheapest 50Mbps camcorders that support 4:2:2." They are also being billed as "smaller brothers to the XF300" series, and the 3D capabilities are being pitched as well.

Pricing is a concern though. At the show I heard the XF100 quoted as being $4,000, while the XF105 would be $5,000. Previously, street prices of $2,999 and $3,999 were quoted (on a forum) that were reportedly from a Canon source. But what will these be compared to? The Panasonic AG-HMC40 (~$2,000) or the AG-HMC150 (~$3,250) or the JVC GY-HM100U (~$2,800) or the Sony HXR-NX5U ($4,000)? Or will they be compared to something else?

We'll have to wait and see, but at $4,000, it looks like we'll get to see whether 50Mbps 4:2:2 from a single chip is much better than the image from a three-chip camera, compressed using AVCHD, which all of the competition offers.

One thing that was surprising about the XF100 series is how small they are. I first realized they weren't as large as I first thought when I saw a picture of Philip Bloom's hand holding the camera, and I thought "that's tiny!" But when I saw it in person, it seemed a bit bigger.

Philip Bloom must have huge hands. [NOTE: Philip Bloom claims that it's Rick McCallum that has huge hands!]

Yes, the camera is smaller than the XF300, but it's not handicam small; it's considerably larger than their HF S20 cameras.

The XF300's have an L-series lens, but the XF100's don't. I was curious what defined an L lens, so I asked one of the guys at the booth. He started into a lecture about L lenses in general. Turns out there's a lot of things that define it, including the materials it's made from (i.e. fluorite), how it's polished vs moulded, the construction of the barrel, weather proofing, all good stuff like that.

"But why is the XF300 considered an L lens and the XF100 isn't?" I asked.
"Actually I don't think the XF300 includes fluorite," began my helpful answerer. "Though [the XF300] has the least amount of chromatic aberration I've seen in any video lens."
"Okay, but why is this one not an L lens I asked?"
He paused. "It's how it's made," he said.
And really, I guess that's as much as we need to know.

3D support
The Canon XF100 / XF105 have a couple of features that 3D filmmakers might be interested in. Three if you include the genlock capabilities. If you are intending to do 3D, and you're thinking of buying one of these cameras, you'll want to get the XF105 for the genlock. That way the frames from both cameras will be exactly in sync.

The first 3D feature is a numerical display (in the LCD panel) of both the zoom distance (on a scale of 1 to 100) and the focus distance. This lets you set up the two cameras and be sure the settings are identical. You can also adjust the zero point in case one of the cameras is slightly in front of, or behind the other, so that these values match.

The second adjustment - available when optical image stabilization is on - let's you adjust the position in space of the lens by a small amount, moving it left or right, and up or down. These adjustments are intended to help get the alignment of the two cameras exactly right, i.e. first position and align the two cameras as closely as you can physically in the 3D rig, then with an alignment chart you can make small adjustments in-camera to get them in position without having to constantly adjust the position on the rig.

Also at the show, Redrock had a prototype 3D rig, holding two XF105's. They weren't announcing anything yet, though they said they had been experimenting with 3D for some time, and when Canon showed them the XF105's they thought they'd be ideal for the rig.

B&H: Canon XF105

Monday, September 06, 2010

Canon Expo 2010 Report

Jared Abrahms at Cinema5D pronounced the Canon Expo in New York a complete waste of time. Stu Maschwitz at ProLost said of the 4K concept camera they showed; "There’s so much wrong with this prototype “concept camera” [...] that I hardly know where to begin. It’s an atrocity of aesthetics and ergonomics."

Clearly the show wasn't a big hit with everyone. Okay, if you just went there looking for "The latest and greatest" DSLR equipment and filmmaking technology, you might have been disappointed, especially if you were hoping for a 5D Mark III. But if you were interested in video, technology, or Canon's current DSLR range, there was a lot to see.

The new Canon lenses that had just been announced; the 70-300mm f/4 zoom and the 8-15mm fisheye zoom were there. In the latter case, there were two of them and the guy said they were the only ones in the country. That lens is crazy useful if you put it on the 5D as it goes from a fisheye 180 degrees to a regular wide angle lens at the 15mm end. So it's not just a one trick pony. On a crop sensor, it's a wide, but "regular" zoom; no fisheye effect, the image fills the whole frame. In addition to the focal markings on the barrel, there is also an H and a C marking with a separate marker to the focal mark. I couldn't quite understand how that worked or what it was supposed to do for you...somehow it indicated what focal length you had with different sensors, but I just couldn't understand it. Still, nice lens.

Interested in broadcast? They had a $700,000 broadcast camera sitting on a pedestal that the guy claimed was from the Letterman show. When I wondered if that meant they were short a camera he said they keep spares around.

Cinematographer Bruce Dorn of iDC Photo Video had a little rig with a follow-focus which, though it won't let you mark focus points, provides an alternative way of focusing the lens. Bruce's lecture was one of several very good ones at the show; his mantra is "learn your equipment."

There were some XF105's on display too. There were two in a concept 3D rig put together by Redrock Micro, and I got a demo of how the 3D adjustments work on that camera. More on that in a later post. There were a couple of other DSLR rigs as well, but that was it for DSLR film making.

Then they had the imaginary stuff, I say that because it's equipment that they aren't going to bring to market in the current form; notably the 4K concept camera and a 30 inch 8k monitor. I thought the 4K camera was interesting, though maybe not something I'd want, even if they were going to sell it. Others have complained about the 2/3" sensor, lens, etc., but I thought it was kind of large and a rather awkward shape. I think you could only really use it on a tripod. The zoom speed on the lens was rather slow too; you had to spin the barrel ring quite a bit to go from one end to the other.

Still, it does suggest that Canon thinks 4K may be coming sooner or later...though I have to remember that the first HD monitor I saw in the flesh was at Siggraph in 1989, but it was at least another ten years before they started turning up in stores.

And before you think you now need to wait for those 4K cameras to appear, remember - as someone said in another seminar - that Avatar was shot in 1920 x 1080.

Want to play with a Canon 5D, 7D, T2i or 1D Mark IV? They had literally dozens of them there with different lenses. They had 60Ds there too. I only spent a few minutes playing with one (maybe because I didn't want to be tempted to buy one!) Yes, the flip out LCD is interesting and useful. Maybe. Five months ago I would have told you that it was necessary, making it possible to shoot from low down and high up. But what I'm not sure about now is how do you attach a loupe to one of these? Because now I think a loupe - or an external monitor - is more vital. I'm sure it can be done, I just wonder how secure it will be, and whether attaching a loupe may risk damaging the LCD joint.

But perhaps the best part of the event was the seminars. Unfortunately Rodney Charters and Russell Carpenter didn't make it, but the other seminars were all excellent. Vincent Laforet's talk was interesting in that it really focused less on his filmmaking than it did going into his twenty or so years at The New York Times as a still photographer, and his enthusiasm for aerial shots. A guy I was talking to the next day said he hadn't known Vincent worked for The New York Times either, and yet he had recognized several of the photographers that Vincent had shown.

Steven Poster, Shane Hurlbut and Bruce Dorn all gave great presentations, and though Corbin Bernsen didn't really talk about technology, he talked enthusiastically about the independent movie scene. Bruce Dorn also showed a surprisingly small monitor from SmallHD which he seemed to think was the bees knees.

My one complaint; even though I had the best part of the two days, I didn't really have enough time. And the seminars all seemed to end too soon, though maybe it's best to leave the audience wanting more. I thought the show was worth it, and I look forward to the next one. Do we really have to wait five more years?!

ProLost: Ha ha very funny Canon now get back to work
Cinema5D: Canon Expo 2010 4K Hair Dryer
SmallHD: 5.6 DP6 Monitor
iDC: 7D Follow-focus