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A camera list and resolution chart showing something like this would be helpful (and motivate manufacturers to build products trying to get higher up on this list): After working on this list for a while and seeing more charts, understanding Nyquist sampling theory is helpful ( http://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem ). Take the sensor width in pixels and divide by 2 to get a fair estimate of sampling resolution before aliasing. While aliasing past Nyquist can help make an image, especially a still frame, look sharp, when in motion, an alias-free image, especially with sufficient grain and high-frequency detail, will look most like film. Thus, even though the ARRI Alexa is only a 1080p camera, it currently produces the most film-like image and explains why it is used most when cost is no object. <all cameras below have pro audio quality. Listing SNR & noise floor would be helpful) F65 - 3.9K (8K sensor with a few tricks, not true 4K) - 16-bit RAW RED - 3.xK (6K sensor: Dragon) - Wavelet compressed RAW RED - 2.5K (5K sensor) - Wavelet compressed RAW (see charts in this thread) 1DC - 2.xK - 8-bit MJPEG and H.264 ("4K" mode, need charts) F55 - 2.xK - 10-bit, XAVC, RAW (optional, extra hardware) F5 - 2.xK - 10-bit, XAVC, RAW (optional, extra hardware) FS700 - 2.xK (estimated with "4K" upgrade) - 12-bit RAW (extra firmware and hardware) ARRI Alexa - 1.9K (3.5K sensor) - 444 and RAW - pretty much zero aliasing and very film-like grain (see charts in this thread) BMCC - 1.xK (needs a test chart: will be less the 2.7K, closer to 2K from what I have seen so far) - 12-bit RAW <1/4" audio in> Hero 3 1.xK (needs a test chart) - 8 bit, 2.7K mode, H.264 F3 - 1.9K - 10-bit - Sony Pro CODECS, 10-bit 422 out 1DC - 1.9K - 8-bit H.264 Super 35 Mode C300 - 1.9K - 8-bit, 50Mbps long GOP MPEG2 (422), 8-bit 422 out, minimal aliasing C100 - 1.9K - 8-bit, Very high quality 24Mbps H.264:AVCHD (420), 8-bit 422 out, minimal aliasing FS700 - 1.9Kv, >1.9k diagonal, ~1.6Kh (trumpet chart) - 8-bit - Very high quality 24Mbps H.264:AVCHD, 8-bit 422 out, some aliasing FS100 - 1.9Kv, >1.9k diagonal, ~1.6Kh (trumpet chart) - 8-bit - Very high quality 24Mbps H.264:AVCHD, 8-bit 422 out, some aliasing GH2 - 1.7K - 8-bit,H.264:AVCHD <add hacked bitrates> <not pro audio, add audio details> TM700 - 1.7K - 8-bit, 28Mbps H.264:AVCHD (60p), excellent IS, loud fan (audio issue) <insert popular camcorders such as TM900, G10/XA10, NEX camcorders, XF105/305, etc.> <all cameras below don't provide pro audio> GH3 - 1.8-1.9K? - 8-bit, 90Mbps H.264 I-frame, ~40Mbps IPB <add audio details> Hero 3 1.8-1.9K? - 8 bit, 1080p mode, H.264 1DC - 1.7K* - 8-bit H.264 full frame 1080p mode 1DX - 1.7K* - 8-bit H.264 full frame 1080p 5D3 - 1.6K (post-sharpened) - 8-bit, 90Mbps H.264 I-frame, ~40Mbps IPB <audio - 1/8" stereo mic, average noise floor> 6D - ~1.6K (post-sharpened) - 8-bit, 90Mbps H.264 I-frame, ~40Mbps IPB 5D2 - 1.5K - 8-bit, ~38Mbps H.264 IPB <audio - 1/8" stereo mic, average to poor noise floor> This was a quick write up without verifying some of these items. Anyone interested: please correct and/or add detail to this list. The resolution column is actual resolution of captured frames when displayed as RGB. Sensor resolution and manufacturer claims ignored in favor of actual hardware testing. Cameras such as the 5D3 may exhibit first artifacts around 1200 pixels (600 TV Lines), however detail extinction does not occur until around 1620 pixels (810 TV lines). Thus, it would be helpful to show both first artifacts as well as detail extinction. See also: http://lagemaat.blogspot.com/2007/09/actual-resolution-of-bayer-sensors-you.html *1DC, 1DX 1080p mode: estimated (looks slightly higher resolution vs. 5D3) <TODO> Add supported frame rates. Sony FS100/700 have unusual resolution behavior. Diagonal resolution is 1000+, vertical is ~1000, however horizontal is ~800 (when using a trumpet chart). A line chart shows 1000 or so for horizontal resolution, however aliasing has started. These cameras can also alias on fine horizontal and vertical lines. C100/C300 can also alias, however the cameras provide 1000 lines of resolution on both h and v.

We have been developing this over the past year for use on the Tecnoir Cinema Rig and other generic15mm rod/ rail systems. This Tecnoir Anamorphic lens holder is designed to hold the latest version of Schneider, Isco and Sankor integrated anamorphic lenses. These lenses slip into the lens holder and you can lock the rear of the lens in the holder with the 3 screws on the holder once your lens is correctly alligned horizontally.   You then attached this Tecnoir Anamorphic lens holder onto your 15mm rod/ rail system.   We have battle tested this with our Canon 5d mkII , Black Magic Cinema Camera, Panasonic GH2 and Canon 550d and 650d.   It works great with all these cameras!!   Im selling these on ebay right now so you can buy one. http://www.ebay.co.uk/itm/230924271472?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649   I have a limited amout available on ebay with Isco Ultra Star anamorphic Lenses and Schneider Aanamorphic lenses Isco http://www.ebay.co.uk/itm/230924246197?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649 Schneider http://www.ebay.co.uk/itm/230924217613?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649     these lenses are stunningly sharp and the best anamorphics you can buy right now, new sharp modern glass designed to project Hollywood Blockbuster films in Multiplexes Worldwide. With the Tecnoir Anamorphic lens holder you can now use these stunning lenses on your productions The optics are second to none !   Thanks Andy Lee Tecnoir

He does ship worldwide - but will ask for some extra to cover freight and insurance.

Found this link the other day & it totally revolutionised the way i went about colour grading in FCPX! http://www.colorgradingcentral.com/final-cut-pro-x-color-grading-table-of-contents   This was also useful (explained a bit about histograms/waveforms as well): http://www.hurlbutvisuals.com/blog/2012/01/7-tips-for-hd-color-correction-and-dslr-color-correction/   And the LAPUG is an amazing resource: http://www.lafcpug.org/   And this is all things FCPX: http://www.fcp.co/?view=featured   Also found these free plug-ins for FCPX by Alex4D (i'd used his old ones for FCP6/7): http://alex4d.wordpress.com/fcpx/   The first link is great to route around in, lots of stuff there. As far as white balance is concerned, go Manual & try using a grey card or just go with what looks natural/neutral to you.

There it is, the 'Petit-Cinevision'. If I google this, the only hit I get is the eBay auction where I bought it... Could it be something like Angenieux? It also says 'made in Japan' on the side.   For good measurements, the Petit-Cinevision next to a bag of Haribo Goldbären. Everybody knows them right? The Goldbären where supplied by the seller, which is good, so my girlfriend didn't go crazy I bought 'another stupid lens'. She ate them before I could take the picture.   The front. The glass looks really clean, in very good condition. The focus ring isn't smooth at all, its bumpy and lacking damping. But the lens elements seem to move fine. Also, it focuses from 0,9 meters to infinity, which is awesome.   My baby and the Jupiter 8 50mm f/2. The Petit-Cinevision already came with a Bolex-clamp included, I'll need some crazy step down filters though. It looks like it's made for the Jupiter though.

I find peaking most useful when pulling manual focus. I don't really like carrying external monitors around so not having it would piss me off. What a shame :(

  Yes that is correct once you have alligned the lens correctly you lock it and leave it , you can then just slide the lens on and off your rails That was the whole point of me making this as I was sick of having to re align my lenses horizontally everytime I use them on a job.   I have different holders for different anamorphic lenses and I can now just quickly switch fron one anamorphic lens to another easlily and quickly no hassle knowing it is always correctly alligned.

I find the magic window magnified focus assist is working well. Keeps your composition full screen and magnifies the centre.

Yep Leica R.  I have Canon and Zeiss too.  Prefer the Leica.   

Peaking on such a little screen is is pointless honestly, punching is alot more useful to me. Can we please get the screen info to stay on at all times, eff peaking just let me have my info on all the time!

  I actually noticed that, but their (vague) documentation seemed to say that it worked at both ends, thanks for clarifying!

the value of focus peaking it vastly over rated IMO. Never is it accurate enough to judge focus well enough to be relied on in the same way punching in 5x or 10x can be.

Well, good luck with your campaign "taking it back" and all.

He isn't often given to pedantic pseudo-intellectualism but it doesn't change the fact of the term's common usage in this way predating digital anything. Even if he did decide to eat a brain tumor for breakfast, the argument doesn't stand up to scrutiny...or even a dictionary.

  I wonder why some of you are even here.