Leaderboard

I've been shooting on the 50D with ML Raw hack at 1580 x 888 with an anamorphic lens. Here are some stills (just screen grabs off the Avid, not proper exports) Shot with Canon 40mm pancake f2.8 and the Bolex Moller 8/19/1.5 - http://imgur.com/a/nmknn#0

The way I see it, once you rig up a small large sensor camera to actually shoot and handle like a motion picture camera you're around this weight, or heavier and something approaching this form factor.  Alexa, RED and the Panavision are bigger and heavier yet but when you see how they're actually used the Black Betty has more in common with them and is more ready to be used like them than any DSLR or FS-style camcorder that needs more mass and additional construction to correct their alien ergonomics.   Most DSLR rigs for handheld are "doing it wrong", placing the camera out, in front of the operator, at a distance from the operator's center of mass and on a pendulum, swinging through space for both broad moves and small corrections.  This design works like the better shoulder rigs, placing the camera back on the shoulder with the lens and image plane as close to center mass as possible.  It's like an Aaton or compact Arri.  Folks aren't shooting actual films with DSLRs and small FS-style camcorders as-is, generally.  When they do you can tell and regardless of how lovely the imagery is, as a still, small, lightweight camera movement plays worse than Bourne-style "shaky cam" done with real cinema cameras on hand-held rigs.   Naked camera ergonomics are usually a non-issue when you put them in the context of how the camera ultimately gets used, in a motion picture scenario (why the fuss over the BMCC or DSLR ergonomics has always been silly to me).  After all the rigging they tend to look quite similar and you're interfacing with the rig, not so much the camera.  This camera just requires less additions to get there and, unlike a DSLR or the BMCC or FS-style camera, you can just pick this one up in base configuration, out-of-the-box and shoot in a traditional, motion picture style that comes through in the footage.   But, yeah, Slumdog had a lot of SI2K footage that looked great and it took home the Oscar for cinematography that year.  This is also the same size sensor as used in the Viper which Harris Savides used for Fincher on Zodiac and Fincher used again on Benjamin Button.  We'd all rather be using larger than 2/3" sensors but there's no doubt this size is still capable of creating cinematic images.

Enny, great you did not lose your humor! That is the best way to handle these "things"... And maybe tonight you can tell a bedtime story about multicoating removal (there was a thread here I think)

  If I'm not mistaken, he used ND, so that he was actually exposing closer to the camera's natural ISO rather than relying on the meta exposure that just scales the RAW values (which are over-exposed) before conversion to ProRes.  The BMD sensor sees further into highlights than the 5D or Epic but there are limits.     I bet the conversion to ProRes has a hand on top of this.  The BMCC's ProRes conversion was/is likewise pretty mediocre from what I remember in Andrew's story many months back.  It's definitely not as good as if you'd shot RAW and done the conversion yourself.   Wanna bet you throw some "black glass" on there and get closer to working at ISO 800 for these harsh daylight shots and all of the sudden the footage starts to look more like John Brawley's.     GD...WTF...why do people post ungraded stuff?

http://youtu.be/RRlkzD3vjMU  

Fun fact:   If you take the letters after the "5" in this NEX series you get, "NRT"  a nice anagram for "Not Really Trying".