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The Vimeo compression on this video was worse than normal, it is maybe an issue in the new Safari in Mountain Lion. Vimeo could possibly be giving me iPhone browser bitrates by accident on my desktop.

[quote name='Ivor Koons' timestamp='1343385635' post='14608'] It looks very clean, but I am missing something that the name Cinema Camera promises - a cinematic feel. The DOF is too big, even the GH1 and GH2 deliver a better image in terms of a 3D impression. The colors look a bit washed-out, too. The cheap-looking, commercial-like setting might add to that. I can't get rid of the impression that the scenes have been worked on to look as filmic as can be, but this approach somehow isn't successful. I'm looking forward to seeing some less plasticky stuff. From what I've seen till now, the GH series, if handled well, seems to win over the BCC. But that is hopefully going to change. [/quote] but it doesn´t at all look as desperately "i want to be cinema" than this gh2 clip from musgo last week. bmc actually looks very good and could be the end of hdslr filmmaking. hopefully. shallow depth of field is only a byproduct of the s35 frame. the extensive use of it came about with video trying to look like film since it couldn´t reproduce the color or dr. before dops and directors were rather trying to get more light on their scene for deeper focus. documentary filmmakers always preferred 16mm. they could shoot pretty wide open but still have more in focus than a pair of ears. the shallow dof "cinema" look was invented to sell inferior video products and make vimeo clips look nice. and beauty shooters like philipp bloom love it, makes their job so much easier making everything look like a pack shot from a tv ad. i so hope the bmc is good! looks very promising. soft, nice dr, ok colors. only wideangles will be a real problem. the equivalent of an 18mm on s35 is what? 8mm? i´d love to use my bolex mount 12.5-100 f2 kern vario-switar on this. [b] [/b]

[quote name='Ivor Koons' timestamp='1343385635' post='14608'] It looks very clean, but I am missing something that the name Cinema Camera promises - a cinematic feel. The DOF is too big, even the GH1 and GH2 deliver a better image in terms of a 3D impression. The colors look a bit washed-out, too. The cheap-looking, commercial-like setting might add to that. I can't get rid of the impression that the scenes have been worked on to look as filmic as can be, but this approach somehow isn't successful. I'm looking forward to seeing some less plasticky stuff. From what I've seen till now, the GH series, if handled well, seems to win over the BCC. But that is hopefully going to change. [/quote] depth of focus is more often than not determined by the lens aperture. Maybe the camera operator decided a deeper depth of focus was what was in order. Too much hyper shallow dof used by film maker wannabes at the moment. lets move away from that. Lets be sophisticated. The constant bashing of the sensor size is funny. very few seem to consider how 'low budget anamorphic friendly' a smaller sensor is? Anamorphic is true filmic. And this camera is likely to be a king at the job. on a side note.. The model is rather lovely isn't she. As does the detail. re. moire/aliasing.. I was too busy looking at the subject matter to realize any aliasing. Most viewers of your work won't care about aliasing either.

[quote name='MOONGOAT' timestamp='1343282620' post='14535'] Reserve judgement. [/quote] Yes. Within a greenscreen hell, everything looks depressingly technical and clean. A good friend of mine is a production designer. She worked as draughtsperson for David Cronenbergs [i]A Dangerous Method.[/i] The studio filming was done on a big soundstage in Cologne. I often gave her a ride and saw the sets. Nothing spectacular, if you see the final film, but I still have a plank from the gangway Freud and Jung passed to embark their ship to New York. Not wood, painted plaster. But looking more convincing than any real wood ever could. This is something I find very fascinating. Cinema is about the meaning of things, or, to say with Freud, it's NOT about the cigar! Things that don't resonate in your soul don't make it to the final frame. This has nothing to do with reality, and it has nothing to do with pixel counting or frames-per-second-counting (although the different look of motion over time may have an influence on how we perceive fiction, we'll see). There is a beautiful behind-the-scenes clip of [i]You The Living[/i]. It demonstrates how film is "only" make believe: [media]http://www.youtube.com/watch?v=GK661yswOF4[/media]

[url="http://www.studiodaily.com/2012/07/sony-introduces-handheld-pmw-200-422-xdcam/"]http://www.studiodaily.com/2012/07/sony-introduces-handheld-pmw-200-422-xdcam/[/url] [b] Sony Introduces Handheld PMW-200 4:2:2 XDCAM[/b] Successor to PMW-EX1R Offers 50 Mbps MXF Recording, Genlock, Timecode By [url="http://www.studiodaily.com/author/bfrazer/"]Bryant Frazer[/url] / [url="http://www.studiodaily.com/2012/07/sony-introduces-handheld-pmw-200-422-xdcam/"]Jul 25, 2012[/url] Sony has improved on the PMW-EX1R XDCAM with the new PMW-200, which offers MPEG HD422 recording to SxS cards at 50 Mbps. Sony is positioning it in part as an ideal B-camera counterpart to the $25,000 PMW-500. The PMW-200 is expected to ship in September for a list price of $7790. The camera captures imagery via three 1/2-inch Exmor CMOS chips. The increased quality of 4:2:2 recording is a nice upgrade, but the workflow advantage is the PMW-200's support for the MXF container and the UDF file system. UDF is the basis for recording to the Blu-ray optical-disc recording media favored by reality-TV producers (due to the high shooting ratios and low cost of media), and it's also utilized by the PMW-500. That means the PMW-200 allows facilities to use the same UDF/MXF recording mode across both memory cards and optical media, using established XDCAM workflow. (However, the PMW-100 does not generate a separate proxy when shooting in MXF mode.) The PMW-200 also supports 35 Mbps and 25 Mbps MP4 and DVCAM recording tp SxS in the FAT format, making it fully backward compatible with existing XDCAM EX workflows. The PMW-200 is far from a replacement for the PMW-500, which is a shoulder-mount camera boasting 2/3-inch CCDs. Still, Sony officials say it's a nice improvement over the EX1R, boosting the signal-to-noise ratio from 54 to 56 dB and sensitivity from F10 at 2000 lux to F11. Compare that to [url="http://www.pro.sony.eu/biz/lang/en/eu/product/xdcamcamcorders/pmw-500/technicalspecs"]published figures[/url] of 59 dB and F11 (60i) and F12 (50i) for the PMW-500. "They're pretty well matched," Sony Electronics Senior Product Manager Christopher Tsai tells StudioDaily. "The EX1R has always been noted for really good sensitivity with low noise, and we already have a lot of people who are using the EX1R like a B camera with the PMW-500 — or even the PDW-F800." Another upgrade from the EX1R is the ability to record up to four channels of 24-bit LPCM audio in the MXF container, the same as the PMW-500. The viewfinder is the same, but the 3.5-inch LCD panel has been upres'd from 640×480 to 852×480, and a new Wi-Fi option for remote operation via mobile app should be available via a firmware upgrade that''s scheduled to go online in December. The 14x zoom fixed Fujinon lens has been ported over unchanged from the EX1R, meaning existing lens accessories like the VCL-EX0877 .8x wide converter will work with the new camera. The EX1R's slow-and-quick speed and slow-shutter options are also intact, along with the 15-second cache recording feature, and the battery system and accessories are the same. In the interest of full disclosure, we asked Tsai which significant features from the EXR1 are [i]missing[/i]. He said there are three.[list] [*]The Shot Transition push-button feature for moving automatically between two sets of presets (focus, zoom, etc) has been discarded [*]Component video out is gone. Instead, the camera has a BNC terminal for composite video out that doubles as a genlock in. Another BNC enables timecode in and out. (The EXR1 had neither genlock in nor timecode in/out.) HDMI and SDI output are still there, of course. "We took off one output connector and gave you two additional," Tsai says. [*]The PMW did not inherit the rotating handgrip from the EXR1. [/list] No doubt one or more of these will be dealbreakers for some users. For more details, take a look at the [url="http://www.studiodaily.com/2012/07/sony-brings-hd422-workflow-to-its-xdcam-handheld-camcorder-line/"]official press release[/url] or click on over to the [url="http://pro.sony.com/bbsc/ssr/micro-xdcam/"]official XDCAM website[/url].