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I want my beans! 

GH3 is the over all winner for me. Top features: Full HD at 60 fps, continuous recordable time, time code (for mutli cams), easy post workflow, practical ergonomics.   https://vimeo.com/72737956

[media]http://vimeo.com/77268402[/media] 68GB worth of material was used to get a studio based test this finely tuned, with the cameras matched in post as close as possible. This effort to remove the variables of grading and camera settings leaves behind a truer picture of the differences in hardware capabilities. The 5D Mark III raw (from Magic Lantern), if it were a film stock, would be Fuji. Warm vivid colours which may need taming a bit in post. The Blackmagic is more Kodak, cooler and more muted, it often requires the opposite treatment in post to the Canon cameras. The 7D is totally back from the dead - with Magic Lantern raw and the Mosaic Engineering VAF-7D tested here, it offers lovely image quality from a Super 35mm sized sensor, at a similar price to the Pocket Cinema Camera. The Panasonic GH3 - best of the standard system cameras out of the box without modifications does a good job keeping up with them. The scene was lit three ways to test resolution, dynamic range and low light performance. [url=http://www.eoshd.com/content/11350/depth-test-5d-mark-iii-7d-raw-vs-blackmagic-pocket-vs-gh3]Read the full article here[/url]

A Nokia engineer announced that RAW photo support is coming to Nokia 1520 and 1020 with Lightroom processing and etc.   https://twitter.com/Partinen/status/392596490289307648   At this rate of pro feature adoption by mobile phones, I'm starting to wonder if Canon should start making pro lenses for mobile phones instead of focusing on point and shoots...

I have a GH2 and am working in Premiere Pro CS6 trying to find some of the settings I should use to export from the timeline.  I have Andrew Reid's GH2 book, but that only gives settings for Premiere Pro CS5, not 6, and there are some differences.   Thanks for the input!   [attachment=708:Screen Shot 2013-10-22 at 3.32.44 PM.png]    

So 43 rumor finally post it!   http://www.43rumors.com/ft4-panasonic-4k-mft-camera-coming-in-2014/     Can't wait!  Hopefully it is 4K for 2K (or less)

  Short film 'Choices'. The hopeful junior filmmaker imagines a battle of the top low budget camera toys, filmed in stop-motion-like animation, using AAEs puppet tool. Dialogs from Rocky? Boxring represented by Andrews table? The Pocket beats the GH3 and the 7D to pieces. The 5D says: 'We won, it's over.' The Pocket answers: 'It ain't over til it's over' - and kicks the 5D over the edge. It falls with the Wilhelms scream, hits the ground and falls apart. The filmmaker takes the Pocket and smiles, the Pocket smiles back. They leave, iris fade-out, THE END. Must find a better ending. 

lighting is the most important part of the job - what ever camera you use   and then hire the best 3d artist you can as all that green has to be replaced on every cut you make - and in perspective too. so the most amazing pull off your 4.4.4 camera is no good if you are replacing green with junk - so we spent more time 3d modeling designing the virtual sets - lighting the virtual sets, pre grading the virtual sets to fit the live action , texturing the virtual sets etc etc etc layering and layering and layering rendering rendering rendering get the look   more time doing all of that than doing green pulls off my 4 2 0 camera as thats was the easy bit!   green replacement takes time - lots of time , its not always fun waiting for massive renders

I think when it comes down to it, the poor little pocket cam is like the underdog in a boxing competition.  It's like Rocky Balboa in Rocky IV. Ivan Drago Aka the 5DM3 is all like "I must break you", then you got Apollo Creed Aka GH3, being all flashy thinking he stands a chance against Drago, But Drago brings out the RAW guns and beats the GH3 to death with them. Then Rocky is like, I'm going to beat Drago, Drago is like pffft, no way, then he realises, oh no Rocky might actually stand a chance.

    That's a really great idea. There's so much focus on RAW and DR at the moment, but those of us who aren't just about ultimate filmic-look replication can feel a little neglected.   I love this site and I'm continually impressed by what Andrew does here, but I do sometimes wonder if the level of time, technical hoop-jumping and non-camera hardware requirements for RAW shooting (at least at the present time) verges on being non-inclusive.   "One of the guiding principals of EOSHD is that nobody should be blocked from practicing their art and executing their talent as a cinematographer or filmmaker due to the cost of equipment. All the equipment I recommend on the blog has to be accessible for nearly everyone."   Time is money, as they say.   Had I the time, patience and money, I would undoubtedly be shooting RAW all the time, but regrettably I have very little of any of those things, so I'm feeling a bit left out. *Sob*          

Agreed. Now, can we move on and get a shootout for the non-RAW workflow folks?? Pretty please?? :D

Yeah unless you are using OpencolorIO or ACES when going linear you will clip all highlights. Not to throw this convo sideways but I found if you are not using that you have to use cineon or LogC to keep anything above a value of 1 even in 32bit float linear its just the way the curves work.   Awesome tests, I have a pocket I may return, ive had QC issues with 2 already and I just cant deal with the crop even with a speedbooster. Im still 50/50 but if I have to buy new wide lenses like lets say the 11-16 and the 18-35 with maybe a prime like the 12 1.6 why dont I just put the money towards something better or similar that I can use my current kit on....

User has been banned. Thanks for the reports.

1D C owners have to send their camera to a Canon service station because they don't want to release the firmware to the public domain.   Now you may ask why...   It seems the only obvious answer is they don't want Magic Lantern getting the firmware and putting 4K on the 1D X.   This proves more than ever to me that the 1D X and 1D C are essentially the same thing.

Lots of good points back and forth here- but what about folks who want the best non-RAW camera for news/event gigs?  I love the cinematic look as much as the next guy, but when I interned for a news team, faster workflow always won over better image quality.    I was recently offered a position in a company to handle video-PR for them- ie, make little promotional clips about what they are doing lately, sometimes record events and lectures. Its a mix of creative work and live event work. I'm trying to figure out which camera would be a worthy upgrade from my GH2 I currently use, so I was excited to see this test. But clearly a hacked 5Dm3 is overkill with a workflow not conducive to what I'm trying to do, and I sort of feel the same way about anything from black magic.    So, for us shooters who are not interested in RAW, where's *our* shootout, Andrew? ;)   Can we get a D5200 vs G6 vs GH3 vs whatever shootout? A non-RAW test, if you will.    I'm sure I'm not the only one interested in that!

I suppose what you're saying is, for what you do Black Magic cameras make sense.   If you were primarily out and about in the street you may want something different!. Or if you were shooting a corporate talking head your client just wouldn't care about raw and you'd have a footage headache for nothing, you may as well make life easier!   You'll find my reasoning elsewhere here for cancelling my BMD order and going 5D MKiii, but of course it's all very personal, relating mainly to a desire for great full-frame stills as well as H264 and raw, and the focal lengths of my lens collection. As such, image quality isn't the sole deciding factor. Even if a pocket cam had a nicer final image (debatable, they are close), selling every lens and piece of kit I own to swap is not practical, so there are other factors.   what's great is that the BMD and 5D iii are so close. It gives us a lot of options. I can't say I really like the GH3 at all, but then I've never liked any Panasonic M4/3 for video so it's just taste.

This article as many shoot out reviews do, has evoked many fan boy comments, it's almost like a comment section from IGN on the Xbox One vs PS4 debate.  it's clear that a lot of people on here aren't really being objective. The GH3 users are here to convince everyone and themselves that GH3 is king, even though it isn't. The GH3 produces a nice image and it's easy to use = best camera. I don't think so. 5DM3 is a fantastic camera and RAW makes it a beast, but again, is it the best RAW cinema camera? possibly but you also have to remember Magic lantern is not canon, if Magic lantern were to stop doing what they're doing, it would all be over. Which leads me onto my next point, it's a hack, so paid Jobs are something you most likely would never use it on. And before people start saying you would never use RAW on a paid job anyway? says who, you? a lot of people here seem to speak in absolutes. I work on paid Jobs and use RAW, but I do it with a BMCC. The workflow is a lot easier than converting the RAW files from canon DSLRs. Also it's not hacked, the software works with the hardware and it was intended to from the get go. I   I've been a DSLR shooter for years, Before that if I wanted the cinematic look, I had to set up a rail system with a 35mm adaptor from Redrock Micro with the Sony EX3 . What we can do now, it's mind blowing.   Again A lot of users here seem to be speaking in absolutes, like my way is the only way and what i'm saying is true because i've used X Y and Z camera therefore I know better. GH3 users saying the GH3 is the best because it's just as cinematic and it's so easy to set up and use with minimal accessories. What has ease of use have to do with the final image?    I'm a narrative and advertisement film maker, we use blackmagic because despite their flaws, they work well and the final image is great, for people saying the 5DM3 blows it away in low light, I work in a stuido and we have lights, I thinnk huge sensors have made people lazy, not using lights because the sensor can cope in low light. I never shoot anything that doesn't have a proper lighting. We also have 5DM3 on set but we don't use them for filming in raw because it's paid. Why use RAW, you don't need it you say? we do because we do a lot of green screen work, I'm also a visual effects artist, anyone who is will know that working with 8 bit 4:2:0 DSLR footage will know it's terrible for keying, and before people say, I can key DSLR footage and it looks great, let me tell you, there is a big difference between, it looks ok, and something that looks professional.   I think people are downplaying a lot of what blackmagic does, Take the pocket cinema camera which I own (FAN BOY TALKING), It's under $1000 and shoots Prores 422 and will soon Shoot 12bit RAW CinemaDNG. No other camera does that, The GH3 is a lot easier to use and it produces fanastic images, it's also got a great view finder and it's files are smaller and easier to manage, guess what, I don't care about any of that stuff, I and my clients care about the end image, not how I got there, just what it is. The GH3 does not produce better images, I don't care what you say, it just doesn't. For me colour grading matters a lot, and RAW enables me to push it much further than any non hacked DSLR, the GH3 crumbles if you push it too much in the grading department. Even the pocket cams prores grades beautifully without RAW.   I thought I would just give a different perspective, I wasn't going to comment but I seen too many GH3 users saying why the GH3 is good enough and overall a better camera when you factor in it's easy of use. Like that's all that matters. I read someone saying in regards to Dynamic range, there was only a little difference between the 5D and the BMPCC, i'm sorry but I can tell a huge difference.    I know i'll probably get shot down but i'm sorry I think a lot of people are missing the point, which is the end image. For run and gunners, yeah the GH3 is the way to go. For me, at the moment Blackmagic is my brand, expecting good things from the 4K version.

  But they do show aesthetic aspects, just not directly. Things like sharpness, noise and dynamic range are trivially correlated with aesthetic judgements, so controlled measurements of these properties are much more useful for comparisons than trying to generalize about the character of different cameras by watching finished films produced under different conditions by different film makers.   In principle, any aesthetic quality that is sufficiently well understood can be measured scientifically.

the beans are spilled!!! click here!!! http://www.43rumors.com/ft4-panasonic-4k-mft-camera-coming-in-2014/

I have an L758Cine by Sekonic for raw shoots. I'm using it with Epics on Saturday. I'd suggest a light meter for all those working with raw video.   The reason is that you will know precisely what in your scene is in an out of the DR of your camera, rather than guessing using a screen or histogram.    The 758Cine allows you to set a mid exposure then profile the meter to know how much over and under exposure you have in a given camera, so you'll know precisely what is recoverable and what's not.   It's pretty ace, though the ;learning curve is more like a cliff.

Strange conclusion, huh, 5d mk 3 best of the 3 ??????? First of all, playing with ML shooting raw is not an option for a paid job, unlles you have some low end jobs where people don't care much for the work you do and get the "cheapest one", I guess you can screw up there, nobody cares. Then the pocket cinema, good video quality but very poor ergonomics, how much will you pay for that quality, well, less than 5d mk 3 but still, you can't go shoot a wedding with one little pocket cinema, you need a few and some patient people. Then the gh3, the most balanced out of the 3, amazing ergonomics, for chirst sake you could do rack focus by tapping on the back of the screen, instant auto exposure by pressing one button, you can even go all auto and works like a camcorder but we are pro's so no need. In the world of event videographers those 5d's are dying in favor of modern tools made for video, fs100,fs700,gh3 DUH,c100,c300, all of these little babies have good ergonomics and image that looks professional, not that plastic look of the standard canon DSLR's. My point is who the heck uses 5d mk3 shooting RAW an event like a wedding, or uses pocket cinema with that tiny sensor, in the real world where money is made you can't be toying like that. My rating for money making in event shooting is 1. gh3 by far for anything 2. 5d mk3 as a second camera for details and use of full frame sdof 3. pocket cinema for moments when you have all the time in the world from shooting to postprocessing.     LE OR none of the above in favor of fs700 or c300.

Absolutely, and I hate wisenheimers as well, must be my shadow.   The poor threadstarter has given up long ago.   That was my first experience with greenscreen: I read a book about Final Cut 2 in 2001 and chroma keying was mentioned. It looked easy. I had a bright green folder on my desk which I taped on the door. I put my VX1000 (DV PAL) on the tripod. I painted red color over my wrist, focussed on my hand and made a strangling gesture. Then I filmed myself, mimicking being strangled. Of course I had 'the hand of horror' in mind. Compositing was a matter of trial and error. I had to deinterlace before I scaled the hand, I had to get rid of the arm, I had to add the cut area with the bone (Photoshop) and animate it. It was far from perfect, but it was big fun. It was diffuse daylight, and though my hand was close to the folder, I only had a few frames with spill. I simply cut them out, that looked even more creepy (funny, actually).   I recommend a playful, respectless start. If you haven't done it and only read about all things that let it go wrong, you'll be discouraged.

If you expose for blown out highlights, push shadows, clean with neat video, you can capture just as much dynamic range from the GH3 as you can from Magic Lantern RAW.   https://vimeo.com/76030718

  Yes maybe time to spill the beans on this one...

cool.. contact vamp camp ask him if it will work with his clamps also ask him if he can make a helmet mount cos you want to go skydiving with your tushinsky.. get a friend to film from the ground as you make you way down to earth : ) just had an idea for the sky diving movie name.. DEEEEP IMPACT