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[url="http://www.eoshd.com/comments/topic/1255-shipping-thread-blackmagic-cinema-camera/#entry17476"][b]Scroll down to here for latest update[/b][/url] This is the thread to post your updates related to shipping here. If you get news from a dealer, or if you phone up - let us all know. [b]My current shipping update[/b] CVP retail unit - no firm date yet. Number 7 in line. Rumoured first batch contains 30 cameras. IBC shipping announcement rumoured from 6th. So hopefully an update on this will come soon. Blackmagic - Demo units were allocated to beta testers since late August, not for marketing reasons. The beta test program is very small. At my count there are around 10 cameras out there. Major sites such as Gizmodo, Engadget and DPReview are not beta testers so don't have a camera yet. Joshua Helling (Director of World Wide Support) and John Brawley (main beta tester and DP) said on the 31st August the camera was 'shipping to dealers' but in small quantities. However 1 week later (Sep 5th) no dealer is prepared to give shipping date to customers, or have yet taken delivery of stock. Blackmagic's CEO Grant Petty says they want to hear beta tester feedback before shipping. As the beta testers only got their cameras at short notice at the end of August it is unlikely this feedback is on Grant's desk yet. It could be that the beta test feedback will be considered before shipping ramps up. Hopefully dealers are taking the spotlight provided by IBC on the 6th to flick the switch and ship their just-recieved stock to the first customers in line.

I just got my kowa b n h. I am new to anamorphic. Can someone tell me whats the best lens to match with it? Primes? and even zooms? Thankss!!

I don't ban people for negativity, rather then they have absolutely zero of interest or knowledge to offer the place...

[quote name='Bioskop.Inc' timestamp='1353184331' post='21865'] So why the obsession of wanting a 12mm or 24mm anamorphic lens - how wide do you really want or need to go? [/quote] Same reason some folks are contributing to this topic.

[quote name='Stunko' timestamp='1353096133' post='21795'] Not quite sure why indie shooters are still using these anamorphic lenses? When professional film cameras are using non-anamorphics and just crop for Scope. And good luck finding a DCI-class digital cinema projector w. an anamorphic lens attachment. They also just crop. In fact, I had no idea that anamorphic lenses were still being made, with new models coming out now. Amazing. [/quote] Couldn't just let this go...I tried, just can't. Spherical 35mm (non-anamorphic) became more prevalent than anamorphic for two reasons: laziness and cost. Period. Super-35mm produces inferior release prints (not that that matters now) as an acquisition format. It's cheaper and arguably slightly easier to manipulate in post production, optically and digitally. Slightly. That slight edge in post throughput has been shrinking all the time and by now would be negligible. The math is a little easier with camera tracking and match-moving, in a digital FX environment. Realistically though, even before the age of digital FX these kind of special shots were more often acquired with an 8-perf 35mm system (VistaVision...the difference between VV and normal movie film is like the difference between shooting with a GH2 or 7D sized sensor and that of a 5D). You cannot recreate the composition of an anamorphic scene by cropping to the scope aspect ratio. Anamorphic photography captures a scene with entirely different spatial characteristics, within the 2.35:1 (or wider) two dimensional space, compared with standard, spherical photography. It's not just about flares and oval bokeh. Those are the cherries on top, not the main course. And none of this has anything really to do with projection. I don't understand why you'd even bring that up, other than you likely don't understand how any of this works. Movies have been acquired anamorphic and released flat for years (70mm release prints of Blade Runner anyone?) and spherical/non-anamorphic acquisition have come to theaters as anamorphic release prints. Oddly enough, the earliest digital projectors in theaters were 4:3 systems with anamorphic lenses, due to resolution limitations. Nowadays there's no need with 4K systems being very common, if not the most common. Acquisition and projection have always been two different issues with different concerns. The move away from anamorphic acquisition was one motivated by cost, without concern for the aesthetic ramifications. Thankfully some filmmakers refused to drink the corporate kool-aid.

The same filmmaker has uploaded a lot of city portraits, and all that's clear is, that this is by far the best. He has also filmed with the GH2 (Lisboa), and guess what? It's full of moire. In this video, you see moire occasionally on the cupola of Sacré-Cœur and on some bricks. But you would'nt notice it, were you not looking out for it. The overall sharpness ist stunning. The skin tones are EOS-like, the dynamic range seems to be good. Are we all barking up the wrong tree?

[quote name='EOSHD' timestamp='1353019257' post='21714'] OzNimbus yes there are always "ifs" but do you really want to wait until the camera has hit shelves and all pre-orders filled before I report an update? The supply of dirty glass was the issue and that has been resolved. [/quote] Please report away, I certainly have no issue with that! I read the same report you did & drew a very different conclusion..... that the issues still haven't been fully resolved & next week will be a litmus test to see if the glass is truly up to spec or not. I have 19 years experience in manufacturing to draw on, and until a finished product is actually rolling off the end of the line in quantity, and passes QC, it ain't fixed. There are many things that have to go right for the issue to truly be "resolved." That being said, I really hope that it passes next week & they start pumping these out. I'd love to buy one.

Hello everyone, I was lucky to take part in a two days digital cinema workshop presented by Marquise technologies and Free Studio in Geneva. I will not try to relay all the information we received in this thread as I am not qualified and it would be a daunting task, but I will rather give you my thoughts on the workshop and give you a little wrap up of the event. [img]http://www.freeimagehosting.net/newuploads/9u9u9.jpg[/img] The workshop covered dailies management and data handling, debayering, the ACES color space, post-production, and DCP. Special guests were Jean-Piere Beauviala founder of Aaton and DP Caroline Champetier (holy motors). It also included a shootout between the following cameras that we compared on the second day from the dcp files in a movie theater: Red epic, Arri Alexa, Sony F65 and Aaton Delta [img]http://www.freeimagehosting.net/newuploads/alh7g.jpg[/img] [img]http://www.freeimagehosting.net/newuploads/u9qde.jpg[/img] The first thing that surprised me was how big the F65 was. I did not tape measure them but I felt size wise from smallest to biggest was like this: red epic, arri alexa, AAton Delta, Sony F65 Here another view of the fully equiped Sony beast: [img]http://www.freeimagehosting.net/newuploads/a3qc9.jpg[/img] Each camera was presented to us and when discussing their features the most intriguing one was the Delta. A couple things separate it from the others: - An optical viewfinder, - a very big ventilator to reduce sound emission - integrated ssd recorder (4 of them stacked up in raid 0) non proprietary you can use the brand of your choice - a little screen on the other side of the camera with the basic info so you can check them on both sides - mechanical rotating mirror shutter - the sensor that physically moves from half a pixel during recording more info here: [url="http://nofilmschool.com/2012/10/aatons-penelope-delta-camera/"]http://nofilmschool....e-delta-camera/[/url] The last feature was the most interesting one but we could sadly not see it in action as the prototype camera did not feature it yet. According to the founder of Aaton, the variation in the image this shift produces forces our brain to stay more focused on the images. You can see the big ventilator and small side screen here: [img]http://www.freeimagehosting.net/newuploads/5wb3y.jpg[/img] Another interesting feature was on the Sony F65, which has a special pixel array arranged in bee hive structure. Which adds up to an odd ratio of 8192 by 2160 pixels even though the final aspect ratio is 17:9 close to 2:1. [img]http://2.bp.blogspot.com/-xb0_SirmzNI/TaLAb4d68EI/AAAAAAAAAy0/HJfBv7uuAbU/s1600/Sony+F65+CFA.JPG[/img] explained in detail here: [url="http://camerarentalz.com/sony-f65-6k-sensor/"]http://camerarentalz...-f65-6k-sensor/[/url] An interesting anecdotal info comes from DP Caroline Champetier who had a very harsh view on the Arri Alexa. [img]http://www.freeimagehosting.net/newuploads/z4ysu.jpg[/img] She tested the camera among others before shooting one of her films and really dislikes it. The skin tones and color rendition are terrible in her opinion. She says that that camera is a very good television camera but definitively not a cinema camera. I was quite surprised at how categorical she was on the Alexa because of how good Skyfall looked to me. So I was looking forward to seeing that "television" camera compared in the theater on the next day. But it was no fair fight. They received a faulty Gemini so they had to record prores instead of raw on the Alexa. And it showed. In theater camera comparison: [img]http://www.freeimagehosting.net/newuploads/7qnai.jpg[/img] [img]http://www.freeimagehosting.net/newuploads/45taz.jpg[/img] The subject is very subjective of course but there are a couple things that showed clearly and are not subjective: - On one of the shots with half of a wooden box in the shade, the Alexa and Epic showed no information what so ever, pure black. On the Delta and F65 the wood texture and details were clearly visible, a big difference in visible dynamic range there. Now of course on the epic you would be able to pull some info from the blacks. But straight out of the cam was pure black. - ProRes is not good enough for cinema. It looked very bad. The colors on the girl skin tones and hair were very weak and the clouds looked really muddy. You could really tell the difference. Wish they had shot with ArriRaw so that it would have been more fair. - The Aaton displayed a very smooth gradation between shades of grey. Not a huge difference with the f65, but it was very smooth. Now the rest is subjective: In my opinion there was two groups, the bottom group with the alexa (sadly ProRes) and the Epic. And the top group with the Delta and F65. The F65 red haired woman shot was simply superb! The skintones and hair color and detail rendition were amazing. The Delta delivered a more contrasted image which I liked less. Interestingly the colorist that was presenting the shots said he would rather grade a more contrasted shot like the Delta instead of having to add contrast and the guess work that comes with it like on the f65. [img]http://www.freeimagehosting.net/newuploads/wwgbh.jpg[/img] Both theses cameras displayed a superior dynamic range and most importantly superior colors imo. (The sony was shifting towards yellow in the highlights a bit) The camera that delivered the most complete and appealing image to me was the F65. But when discussing this with the other attendees as you would expect everybody had a different favorite. All in all it was a very fascinating workshop. Big thank you to Marquise Technologies and Free Studios for this.