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  The Canon C series are definitely *not* price leaders.  The C500 is insanely overpriced - it costs $26,000 but can only record 8 bit MPEG 1080p in camera.  It is surely one of the worst value cameras on the market today.  But it is physically almost identical to the C100 which Canon sells for $6000.  That gives you an idea of the margins Canon is making, because a heat sink and an SDI socket are not $20,000 parts.    The 5D2 was a great camera.  But let us not forget it was released without manual control of the aperture (classic Canon deliberate crippling) and shooting only at the non-standard 30.00fps.  They back-tracked on that pretty quickly when all their customers started buying Nikon lenses with manual aperture control.  And the 5D2 still has a crippled HDMI out to this day.       You are joking with us, right?  It has taken nearly 5 years for Canon to remove the crippling from the HDMI output of their DSLRs.  They have only done it for one model - the 5D3.  And hidden in the firmware with this update was new code to prevent the camera working with third party batteries.       The EOS mount was introduced in 1987.  The patents have expired, that is all.  It is not an act of generosity on Canon's part.

Oh dear.

ISO - guess again (sorry, I'm cheating because I already know it) re: resolution. It will go vertical by at least another 100px

http://www.polygonsandwich.com/blog/2013/5/3/building-the-bomber-cam   I am absolutely blown away that the images how come out like they did, they just don't look like they're from a digital sensor.

Sample footage! shot some boring bricks to test for moire. Looks pretty good to me. I have the feeling it's better than the 5DII... Would have to check in a direct comparison though. [url=https://www.wetransfer.com/downloads/9601255fb2b189b37b4b0d44cb0194c320130525170445/0fc5fb145e9213a3c61911886b4a751d20130525170445/70564c]Download here (WeTransfer)[/url] Some exported sequences and some DNG files to play with. All the info in the readme.txt. 1592x840 @ 24 fps - Nikkor 50mm f/1.8 @ f/8 1280x960 @ 24 fps - Nikkor 50mm f/1.8 + Kowa B&H 2x anamorphic - Stretched to 2560x960 in Premiere And a sharpened 1920x720 version of that last one.   I love this :D     Just need to order some badges... :P

I traded my old 5D in for a 50D and cash.   Got raw recording working. Tested with Sandisk 32GB 95MB/s CF. 1592 is the max width. Max reliable speed seems to be 50MB/s for me with this card.   Results (24 fps):   1592x1062 - frame skipping after about 50 frames (67.7MB/s) 1592x840 - frame skipping after about 480 frames (53.5MB/s) 1592x720 - no frame skipping (44.3MB/s) 1320x1062 - frame skipping after about 300 frames (56.1MB/s) 1320x960 - frame skipping after about 1200 frames (50.7MB/s) 1320x840 - no frame skipping (44.3MB/s) 1280x1062 - frame skipping after about 250 frames (54.4 MB/s) 1280x960 - no frame skipping (49.2MB/s)   Yes. That is a 5 year old dslr, worth about €300 (probably more soon, get one while you can!) shooting raw video without problems in a lovely 1280x960 ratio for 2x anamorphic :wub:   Will keep you guys updated about the quality, moire etc.

The response by TC says it all I think. Superb myth busting there. You're a credit to the forum.   For me there is no defending the C500's external recording requirements, and the pros I know who have shot with it say the same. External recorders are a PITA. It's a complete scandal that the C500 doesn't do raw internally like a $3000 DSLR or a $1000 Pocket Cinema Camera. Dumping uncompressed DNG raw to a SSD is trivial stuff. Canon chose to go for maximum margin, minimal design changes to the camera, maximum profit for their partners making the external recorders. One of them (I forget who) was even charging something like $4000 for the firmware required to make it accept the C500's raw output!! How do any of them think this kind of thing is going to wash in today's ultra competitive camera market?   Again it is a shame Canon took the beancounter route for the C500 as it could have been superb. For me there's no reason why they couldn't have added compressed DNG and a SSD slot, sold it for the same price as the C300 and then they would have had a worthy competitor to Sony. As it is the C500 is not competing.   I hope for your sake peederj you realise that your C100 + Ninja has a shelf life of about 1 year and huge potential for deprecation in price. It is already comfortably outgunned on image quality by raw on the 5D Mark III. I know you will confront this argument by saying the ergonomics are great, but I'm not talking about ergonomics I'm talking about the image. An external recorder is poor for ergonomics anyway - that's one of the things (spidery arm, HDMI cable) that pros were running away from DSLRs to avoid!   So your honest advice to people on this forum is to upgrade their 550D to the C100 and everything in-between is nonsense... Seriously are you a Canon plant? Just look at your own logic. Is the following nonsense? -   Blackmagic Production Camera - 4K and global shutter, free copy of RESOLVE 10 5D Mark III raw recording from full frame sensor internally to CF card - show me a competitor to that! FS100 and Speed Booster - incredible low light performance and flexibility with the lens mount plus 1080/60p Blackmagic Pocket Cinema Camera - ProRes internally for $999! Form factor a GF1. What's not to like? GH3 - 1080/60p at 50Mbit, 24p at 72Mbit ALL-I - does your C100 do that for $6000? No Not to mention STILLS on 5D3 and GH3 Blackmagic MFT 2.5K camera - beautifully cinematic and Speed Booster compatible KineRaw mini (2K raw for $3k)   You have to be practically blind, deaf and dumb to dismiss all that as 'nonsense'.

Raw is the 'raw data' from the sensor. The sensor captures light, translates it into analogue data then to digital. In order to create an image that digital data must be debayered and processed. Usually this would be done on the camera, but DSLRs don't have as powerful processors as a desktop computer, and need to process the data in real-time at 24fps or even 60fps.   Also when raw image data is compressed into a video file, or a JPEG still, it gets baked. It is like cooking a stake. It isn't raw any more :)   With raw video you do your cooking later, with all the flexibility to cook the original image in post. You can change and grade the image far more than you can when the camera has already cooked it for you in-camera, and served up a much less tasty dish.   The camera is a bad chef.

  nahua, you're doing this wrong - you need to interpret your image sequences as 23.976, and set your sequences to 23.976. Then they will play back at the correct 24fps without any interpolation or repeated frames.   You can go a step further and go to Preferences/Import and set 23.976 as your default framerate so that new image sequences that get imported already have the right framerate.

I'm liking these 5DmkII clips better than most of the 5DmkIII clips.  Maybe Andrew's right though and it's not that the camera is better it's just that these folks are better at grading than your average 5DmkIII owner.   ;)

  I think the BMD 4K cam is their only camera product worth considering, but as mentioned above, it is still vaporware and BMD haven't earned particular faith in the timeliness dept now have they. I have the C100 + Ninja 2 which fully kitted is about the same price as the other options, and I also have the 5D3 as B-cam/stills. If I were to add a camera right now it would be the FS700 + Speedbooster so I could get overcrank with my EF glass.   The BMD 4K cam will one hopes give the best resolution of any of these choices but frankly the C100 + Ninja 2 resolution is essentially perfect at 1080p and the thing sees in the dark. One of the benefits of 4K is the ability to stabilize in post, but the BMD camera is so heavy and clunky that flying it on a steadicam is going to require a high-budget rig be aware. But the global shutter is nice. The sensor in the BMD 4K cam has been reported to have unimpressive dynamic range even though BMD is claiming 12 stops on their website (the C100 is also 12 stops at base ISO 850 into Canon Log). So I don't know how much RAW capability will buy you with the BMD 4K in practice, I imagine due to file size that cam will almost always be run in ProRes HQ just like my Ninja 2 is.   In the end I think the decision comes down to a few factors:   1) Are you really, actually, truly serious about working in 4K resolution right now? Who will be the consumer/outlet of this product? 2) Do stills matter to you? 3) Are you willing to wait an indeterminate number of months (years?) for the BMD 4K to actually get into your hands? 4) And wait for the bugs to be worked out (e.g. dropped frames, electronic lens support, etc.) 5) Is run-n-gun and rapid post turnaround important to you or are you willing to sacrifice efficiency and flexibility for the last bit of image quality? 6) Have you really sat down and totaled the cost of ownership of each of your options, in terms of CPU/GPU power, storage/memory, rigging, filters, audio, batteries, lighting (low-light capable cameras save you money there), accessories, etc.? Make a wish list/shopping cart for each option and ogle the damage.   My conclusion remains C100 + Ninja 2 is the best overall option for the money right now unless you need the overcrank (FS700) or stills (5D3, 1DX/1DC, D800). I don't see 4K as a practical reality currently for this budget range (cue howls from those with far more ambition than budget). But the BMD 4K is the first camera from them that might be desirable overall when it appears. A baby Scarlet I think, and I might rather have one than a Scarlet if it works well.

Digging further into the technics behind DSLR filming...   So there happens to be a Native ISO for each type of camera. This particular ISO settings gives the best images with the least noice. It also determines you ISO stops. I found out that the best ISO stops for a Canon are 160, 320, 640, 1250, and 2500 - avoiding 125, 250, 500, and 100.   Does anybody know the best ISO stops for the Panasonic GH3?     

Do a lens cap test and find out yourself. Doesn't take too long.   Record 10 seconds of footage with the same settings at each ISO with the lens cap on. The results might surprise you. I've found with my GH2 ISO 1250 is cleaner than 250.

  I was led on for almost a year to do this simple job.  The clients just kinda never committed to an idea :huh: , and finally when I came in to shoot they didn't want any people in their office.  They asked for a virtual tour.... so this is what I did.  I would love some advice from any veterans or creative types on what they would have done differently.  Thanks a lot.   http://www.youtube.com/watch?v=PRP7FcDrEPchttp://www.youtube.com/watch?v=PRP7FcDrEPc

Nice comment on Facebook... Somebody said the Blackmagic sucks because of the sensor size. This guy replied well...Says it all doesn't it!? "[color=#333333][font='lucida grande', tahoma, verdana, arial, sans-serif][size=2][left][background=rgb(237, 239, 244)]Yeah having real 1080p with 13 stops of dynamic range in 12bit 4:2:2 RAW or 10bit 4:2:2 ProRes sucks so bad when you can shoot pristine real 720p soft macroblocked unfocusable 8bit 4:2:0 compressed h264 on a 5D MarkIII for just $500 more!"[/background][/left][/size][/font][/color]