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CineMartin are the first company I know of to give us H.265 HEVC (High Efficiency Video Encoding) conversion with the just-announced CINEC v2.7. It supports up to 4K resolution and you can try it today. In case you live at 12 Under Rock Drive, the H.265 standard is the biggest codec of the decade. It supersedes today's most common codec for encoding and internet delivery of video (H.264) and makes 4K recording to SD cards possible on DSLRs. Read the full article here

"Cinemartin say in their tests a ProRes 4:4:4 video of 590MB was converted to H.265 HEVC with CINEC 2.7 to an output video of 4.9MB with little or no noticeable differences in image quality." That's pretty a phenomenal rate of compression. 600MB to a 5MB file? Wow. Sounds like a game changer in all kinds of places. I didn't think 4k or 8k could happen soon, because of limited bandwidth. 8k world, here we come. Even poor farmers with marginal internet access are going to be able to access a world of HQ video. It's good to be in the world of video.

I think as a general rule, all else equal the better the compression method is for delivery, the worse it will be for grading/editing.

yes this is a bit of a pain I know. never go past 1 full turn and you're ok:) I will do my own iscorama one day, but its a job and a half. I've been looking at the van diemen rehousing recently and cannot justify the price and weight gain, so am likely to be machining a DSO rehousing which maintains the protrusion of the rear optic to allow deeper seating of the optic into lenses with deep bevels, gives focus gearing, and adds less weight than the van diemen bodywork. I imagine if i do, it will be something that can be bought as 3 individual parts and fitted by the user.

Hey, Thanks for tip! Yes, I've shot a short with it since doing the close focus mod and honestly have gotten very used to knowing how far I can crank it before it screws off. I just cant let anyone else operate it now :)

It isn't designed as an acquisition format so much as a delivery one.   Like I said in the article, raw and ProRes will have a big advantage for heavy grading, keying, FX work in the same way it currently has an advantage over AVCHD and H.264 on DSLRs. It's just that H.265 will give us 10bit, small file sizes, 4K and lovely looking footage out of the box on consumer hardware. Given a few years.

Just tried one, first impressions...   Screen is very nice. Biggest on any camera and very good quality.   There's a new manual focus assist - ultra detailed but slow frame rate.   I'm picking up some SD cards and going back to get some footage. Nothing special just in-store test. If it really is a step forward from the D5300 aside from 60p I'll buy one and review it :)

  When you stepped out of the wrong side of bed this morning, did you also stand on a lego brick?   It doesn't so much matter if H.265 isn't destined for DSLRs immediately, I am sure Atomos will put it in an external recorder way before then and allow us to get very nice looking 4K from an HDMI and HD-SDI output on future cameras.

the concept of a world where you can deliver amazing image quality on netflix is blowing my mind :blink:

Most shops around here in Sweden don't sell Sachtler, so I have no idea about how those perform. However, when I got my Manfrotto 503HDV head, I tried panning and tilting both 501 and 503 heads in the shop. The 503 felt much smoother and concise compared to the 501, which made my choice easy. So, my advice is to try to find a shop where you can actually try them out. Then you can probably figure out if the difference is large enough for you to want to save a bit of money from your budget or not.

Then I recommend the following workflow: Preparations: a) Connect your card reader to the iMac and an external HD (preferably an SSD with Thunderbolt). Open FCP X, select the external drive (by clicking on it) and choose "create camera archive" (choose a name). This will backup the content of your card and you can edit right from the archive, disabling "copy files in FinalCut event" (translated from german, you will find it). You find this option as well in general preferences "import" as well as in the import dialog after you hit "import". If you don't copy the clips, there will be only aliases in the FCP event folder, keeping your project small. BUT: You always need to connect the external drive when working on the project or else your clips will be offline. OR b.) Assign your sytem HD or any external HD/raid for the >New Event (choose a name), preview the clips you want right from your card, make selections with i & o or by the range (click & draw a yellow range within the thumbnail, you can select various portions of a long clip by keeping "cmd/⌘" pressed), and then you do check "copy files in FinalCut event". OR c) Have both archive and event copies for maximum security. OR d) Edit right and exclusively from the card. No fail safe option then, and if it's only a USB 2.0 connection, the skimmer will invite the much-hated "beachball of death". Don't copy your card in the Finder! FCP X then doesn't recognize the folder as a camera, and you'd lose the very good "filmstrip view" in the import window. In either case, uncheck "create optimized media" (=ProRes). ProRes at this stage is only needed for slow machines. Organize your clips: FCP X has the most advanced tagging system, allowing you to find any of your clips with very little effort. However, with the manageable project sizes you describe, you can as well skip this procedure and use the skimmer instead (hotkey "s" toggles this cursor behavior, it's very useful in the event window, often not so much in the timeline), I recommend you use the "view clips as filmstrips" (instead of "list", blue highlighted icon right beside the gear icon on the bottom of the event window). You can hover over all your clips, and you see them right in the viewer. Also, if you had recorded external audio, you can synch it in the event browser automatically (as an example of how powerful the tagging works, you can filter your search by the rule "synchronized clips", and FCP X will only show you the newly wed video & audio). Edit: 1. In preferences >playback, disable >background rendering. Reason: Your machine is fast enough, you can render complex parts deliberately by selecting them and hitting ctrl + r. We'll come back to that render issue later. 2. In the project window (filmreel-icon bottom left highlighted blue) first assign a volume by clicking on it once, then create a new project by hitting the "+" button. Make it ProResHQ with the image size and frame rate of your original clips. After this, enter the timeline by clicking on the filmreel-icon again. 3. Make a rough cut by throwing all the selections from your clips into the timeline. Use only "e" to move them from event to timeline (as recommended, use the skimmer in the event (shortcut ⌘1) and the old-fashioned playhead in the timeline (shortcut ⌘2). This of course is a matter of personal preferences. 4. Trim your edit using the trim tools (if you don't know, view a tutorial about trimming with FCP X). 5. Add b-roll and music asf. by "connecting" them to your "one-track" timeline with "q". 6. Grade / color correct your clips, apply effects and titles. 7. View your video, for now neglecting the audio. Everything should be fine. 8. NOW enable background rendering in preferences and choose ⌘ + shift + r (render all). 9. Work on the audio. Every time you pause for a few seconds, FCP X will render the video. 10. After this is done, do one of the following: Export a) Create a ProRes HQ master on your harddrive by hitting ⌘ + e. From this self-contained, high quality video, you can use several tools like QT7, MpegStreamclip or compressor to encode an mp4 or mov for Youtube or Vimeo. I recommend the free x264 plugin. OR b.) Simply >file >share >Youtube or >Vimeo. I hope this is helpful.

https://vimeo.com/68340708 http://ae.tutsplus.com/author/bran-hvitabjorninn/ https://vimeo.com/73658885 https://vimeo.com/65617394 https://vimeo.com/65347677 Hopefully some of these should get you started like it did me, there's also a beginners tut on the Blackmagic website also

4:3 Recording Times (5DMiii; 64GB 1000x card)  1920x1288 > 98.9MB/s > About 10 minutes* 1600x1200 > 76.8MB/s > About 13 minutes 1472x1104 > 65MB/s > About 15 minutes 1344x1008 > 54.2MB/s > About 18 minutes 1280x960 > 49.1MB/s > About 20 minutes *I can record for about 30 seconds, but I can't get RawMagic to recognize files shot at this resolution.

NBC Sports is already shooting 4K, actually. They down-convert to 1080p, often using the extra resolution to 'zoom' during replays. The technology is there, but the issue is cable companies are not supporting it at the moment. It will take a while before broadcasting companies are willing to upgrade their workflow. You'd be surprised how many TV channels actually still only operate in standard definition because they don't want to shell out the money for HD.

Acoustic music video with i Shot with a Kowa 8Z and SLR magic 35mm on a GH3.

http://nofilmschool.com/2013/05/1080p-raw-video-canon-5d-mark-iii-anamorphic/   dammit. When I started to write this post, this article wasn't published! (and in the middle of writing I stopped to watch a movie with my girlfriend. hahaha)   well, at least you can see it's my question featured. AHAHAHA!