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Only pretty sure?

2X, apparently: http://www.reduser.net/forum/archive/index.php/t-40248.html

no what did you say no it cannot bee no nooooooooooooooooooooooooooo nooooooooooooooooooooooooooooooooooooooooooooo     my money nooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo

  Haha. There's a very good argument for all the camera manufacturers sucking. Canon lack the competitive pricing and brute specs, whilst their low end (DSLR) is a total running joke now... Ever since I started the blog. Sony lack the image quality in some situations (A99 anyone?) and have iffy ergonomic design though the F5 and F55 are a step in the right direction. Blackmagic also lack the ergonomics, and seemingly the ability to ship cameras. Fuji aren't even in the camera game and they let their film business die out with Kodak. Their X series is crap for video, and Olympus don't even know what 24p is. Nikon - it took 3 years to even wake them up and to be honest their current cameras aren't exactly full of unique selling points. Panasonic seemingly have a clue on the GH line but when it comes to their high end, it as if they have stalled. The time for action is now Panasonic but I get a feeling they've just spent 2 years debating the specs of a codec (AVC Ultra). Finally there's Red and Arri. They're doing fine but the day either of them gives us a affordable mass produced cinema camera is the day hell freezes over.     I was considering the C100 but just about the only thing it has over the competition is the form factor. Canon are trying their best to put us all to sleep. 5D Mark III firmware update is a joke. Why did we have to wait a year for it if the hardware could have done it all along? It is a clear case of wanting to protect their Cinema EOS margins and likely the only reason they are now giving it us is that the Nikon D800 has been eating into their 5D Mark III sales.   C100 gets movable focus assist, FS700 gets 4K raw and 240fps 2K raw. Haha that made me laugh very loudly indeed.   At least your camera does not have buttons laid out like a 1970's IBM mainframe so be thankful of that.

I bought myself a new V1 based on this this thread. After a few days I decided to keep it, not for its 4K raw capability, which is too limiting to be practical in my mind, but for its burst shooting capability as a street camera. At 10fps, I can keep shooting stills for 3.4 seconds, long enough to capture an interesting scene, and fast enough not to miss the critical moment. I shot 1800 pictures in a couple of hours, and the battery still showed as full. I was able to pick many keepers out of this session, improving my success rate by many folds. Moreover, it's completely silent, and the AF is always spot on. For this purpose, it's quite a unique camera, even better than the like of 1Dx or D1s. I'm happy that I stumbled on this gem.

Digital Bolex is $3299 retail... For me, that's not a comparison at all. I never considered the Bolex because of the price. I pre-ordered the Pocket Camera as fast as I could. It's quite a difference.   If price doesn't matter, I hope the Bolex offers more than the BMPCC and I guess it does. Anamorphic 4:3 mode, XLR, etc.   I think the Bolex is more for filmmakers who want that S16 look. The BMPCC is for everyone who wants great quality at a low price. The small sensor is just a consequence.

As far as im concerned, The digital bolex folks have no room to talk until they actually release a camera.

  Yes you've got it, I mixed up the tech there. It's removing noise and clock jitter from sampling rate timing rather than the actual signal.

Don't think that is what Tim is referring to Caleb.   The spec flange for EF is 44mm and this is what Blackmagic went with.   The actual flange on EOS DSLRs is more like 43.5mm to allow for some tolerance for infinity and AF micro adjustments. This wasn't factored into the Blackmagic Cinema Camera as it would have knocked cinema glass off their marks.   Still think they should dump EF and go for E-mount.   I bet you anything there will be an E-mount version of the 4K camera come the end of the year.

By the time 4K actually becomes a mainstream delivery format it could be 5+ years from now. Even "HD" brodcast in the States is often 1080i or 720p.  I think everyone is jumping the gun on the 4K for future proofing.   Using 4K to re-frame, track, zoom, that makes sense. But it's more of a luxury, less a necessity at this point.

  But i fear my eyes will see it, when i try to bring out shadow detail that has been thrown away!   There is a reason why .CR2 files (which use actual loss less compression) are so big for stills images...

  Please correct me if I'm wrong.   If you record a format, then compress it, and it looks the exact same after playback, then it is "visually loss-less".   If you record a format, then compress it, and you lose no information whatsoever (including detail that can't be seen upon native playback) then you have a true loss-less format.    It sounds like the compressed Raw is going to throw away some information.

Here are my samples, LA7200 combined with Redrock rig. In these pictures, I was using a Helios 44, 50mm, but also tested on the Canon EF 24-70mm.   An issue is that the distance to the mattebox varies according to focus (on the Helios) or zoom (on the 24-70).   Does look good, I admit, but doesn't work at all. On the Helios, there is no problem, no vignetting. On the 24-70, without the mattebox, we can go as wide as 28mm, but with the thing in front, it's only usable when the lens is set longer than 50mm, which kills the anamorphic's main purpose: using really wide angles. :(    

Been working on this one for quite some time...  Just in time for the premiere for season 3 tonight, my Game of Thrones spoof, "Winter is Coming."   Shot on hacked GH2 with a Bolex anamorphic.  Mounted with an awesome clamp by Redstan  (seriously, top-notch stuff.  Well worth the wait/cash.)   Taking lenses were Nikon 35 f2.8, Konica 40 1.7, Nikon 50 1.2, and Super Tak 135.   Color by Shian Storm's ColorGhear, my first attempt, so be gentle!   Shot at numerous locations over the last few months, including a re-shoot for the band sequences as I couldn't' stand how the first set turned out.  (hated the background.)  We also got very, very lucky with the weather for the outdoor battle scene. Considering we had no budget at all,   I was shocked by how many people showed up for that  shoot!  Enjoy!   http://www.youtube.com/watch?v=VQeazQ0eohQ

I'm actually not in a PAL region at the moment, but I ordered the PAL version of the camera exactly because of that. It's a shame Sony won't make these cameras world cameras.   Anyway, when shooting 60i (30p in fact), have you tried playing around with the shutter speeds and see what looks better? Have you used 1/50? (the closest to 1/48, which would be the same as an 180 degrees shutter in a film camera) Some people here defend that 1/40 looks more cinematic than 1/50, maybe you could try that as well?   I think that might get you closer than using optical flow retimes. At least for handheld or locked camera footage it should look pretty good. Smooth pans or dolly shots could still look a bit jittery though...