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The Blackmagic Pocket Cinema camera is a wake-up call to the bigger manufacturers and their afterthought video modes. [url=http://www.eoshd.com/content/11256/open-letter-japanese-manufacturers-regarding-enthusiast-video-market-improve-lose]Read the full article here[/url]

no dis respect just find a small sankor anything with the numbers 16 in it. or a kowa why not buy something that you can hold in the palm of you hand...   why buy from a liar anyone that puts iscorama in the title like that guy should be hunted down and forced to eat his 3kg lens. if you want to buy these massive pieces of metal and glass use an auction rather than a buy it now. those links are a joke sorry 150 dollar optics at best much of this glass has been dumped from multiplex cinemas going from film to digital some taken out of dustbins. not saying it is not usable but cameras are getting smaller. you will not look more pro with rigged up set up like that you look like a wanker. send the iscorama guy an email say you are interested in buying 3 set up's tell him you are doing a skate board project and you love his items ask him has he got any examples of motorbike speedboat or skateboard footage using his not real iscorama

Fwiw, shooting raw video on my 4 year old 50d blows the doors off anything "current" with h264. That includes my hacked gh2. Andrew is correct: the big Japanese camera manufacturers need to innovate or get the fuck out of the way.

http://vimeo.com/75728395 "The Pocket" is a polarising camera. It's as tempting to rave about the camera as it is to criticise it for obvious shortcomings. However - bottom line is that this is an extraordinary tool. It is 90% of what I loved about the Blackmagic Cinema Camera without the bulk and strange form factor. In my mind it replaces the Panasonic GH2 as the cult favourite of prosumer video because it has an absolutely beautiful film like output and a very accessible price. Read the full article here

ever wondered what leica or cooke taylor hobson could do if they made something like the tokina achromatic diopter.   well in about 3 weeks i should have the finest close up ever. 82mm doublet +0.25 classic single coated optics using ohara and schott germany glass. way superior than the tokina +0.4 optimised for 5d size sensor using iscorama,cooke speed panchro and leica r as the set up. this close up will be a fine match for the finest most expensive high end new or old optics.     anyone who thinks these new generation anamorphics from letus and slr magic will not need a double element close optics is clearly not very sharp : ) a simple test on those 2 new china lens shot at f1.8 or even f2.8  with an achromatic doublet and without should make things clear. these new anamorphics are single element  optics just like the century and the panasonic optics. maybe revised and improved  but still single element.. sometin got a give somewhere in the system.   as we all understand stopping optics down to f4-5.6 clears up the image and makes even poor optics look sweet. achromatic correction is kind of cool and if you like the new anamorphic lens concepts coming sticking a decent bit of double element glass in front of bad single element can only help A 3 cheers for Chester Moore Hall the man that came up with the concept of bending light ray achromatic correction.

Camera supplied by CVP who came through and fulfilled my pre-order from NAB in early April. Personal note: I was saddened to learn of the death of CEO Phil Baxter earlier this month and in Phil's memory a fund has been set up which will donate a pot of cash to the Make A Wish Foundation UK charity. This charity helps fund memorable experiences for young people fighting life threatening illnesses. Donate here even just a small amount helps those kids. The Blackmagic Pocket Camera is finally at EOSHD HQ, and comes from one of the first new batches to ship since the white orb sensor calibration issue was resolved. Have they fixed it? Let's not get too caught up in things like that for the moment. For me this camera is all about the lenses. I've been a Micro Four Thirds shooter since day one with the G1 back in 2008. This was the first camera to tempt me away from Canon and over the last 5 years I've been building a rather ridiculously obsessive collection of Micro Four Thirds glass for my GH1, GH2 and lately the GH3, as well as c-mount glass. The best c-mount glass is mainly vintage Super 16mm from the 60's and 70's. Classics like the Kern Switar 26mm F1.1 for instance, which an ex-BBC cinematographer once described to me as being "made by spacemen" such was the performance before the technological era of computer assisted optics design.   [url=http://www.eoshd.com/content/11233/blackmagic-pocket-cinema-camera-first-impressions]Read the full article here[/url]

  Spot on mate.

      http://www.43rumors.com/great-picture-collection-from-magnum-photographer-moises-saman-and-guess-what-camera-he-uses-for-his-work/

I do not understand your obsession with video on stills cameras. Video is an added feature on a stills camera so how can you compare them to a BMCC that is made purely for video? Stills cameras will always be stills cameras, the video will get better as the tech gets cheaper but it will never be the main focus. We are a small market and will be treated as such.

Andrew, I think you're overlooking engineering issues that are pulling the market apart, between DLSR for photos, and cameras for video.   A DSLR is designed to use a large sensor to get the richest color from wide angle lenses on up.  The physical constraints of diffraction and focal length cannot be marketed away.  In other words, an APS-C sized and above sensor will provide the  high resolution still photographs, better than any smaller sensor, from MFTs on down (in 4:3) aspect.   What that means, of course, is that you must skip sensor lines to maintain the same focal length (EDIT: 5D3 samples whole sensor to avoid this; electronic requirements may be expensive).  So DSLRs are primarily high resolution photo cameras.  If they don't skip lines they have to use crop mode which increase focal length.  Then you can get moire-less video, but again, at the cost of focal length and you put the lens under great resolving strain.   Yes, the MFT cameras do great video, but mostly because they use small sensors that don't skip lines and are optimized for video.  As photo cameras they are not as good as large sensor cameras, mostly because of physics (of light and sensor design).  No professional photographer would pick an MFT camera over a full-frame.     I'm with you in spirit on the article.  But I think you have to temper expectations with some engineering realities.   I spend every day working on my 50D RAW (which you turned me onto) and an EOS-M.  The real question is whether manufacturers believe there is a market in high color depth, dynamic range in consumer equipment.  I believe there is.  I hope there is!

I don't really know why you are obsessing about this. It's not that big a deal is it? Still, the pocket camera is priced below many pro-sumer equivalents (GH3), and as evident from all the online forum chatter, vimeo groups and youtube test videos, has overwhelmingly been bought so far by amateurs and hobbyists - myself among them.