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Scaling down to 1080 in Premiere will be very high quality (Lanczos+bicubic) and will easily run in real-time with CUDA/OpenCL: http://blogs.adobe.com/premierepro/2010/10/scaling-in-premiere-pro-cs5.html (Max Quality is always on for scaling with GPU accel). 420 QuadHD and higher will indeed scale down to 444 1080p (with additional vertical averaging acting as a low pass filter to help reduce aliasing). Depending on the compression quality, shooting in 420 QuadHD can produce higher quality vs. 1080p. If for example AVCHD 1080p ultimately does a better job due to bitrate relative to frame size, it might look better in some scenes (> HD resolutions appear to be limited by card write speeds).

Checkmate, Canon.

Above: interview with Illya Friedman of Hot Rod Cameras, by Dan Chung The GH4 is a consumer camera but has the most pro-camera leanings I've ever seen from a consumer or even prosumer camera. Because of that many professional shooters are considering the GH4. Here then are the remaining questions answered... Read the full article here

Was never expecting the lower price! No raw yet surprisingly

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I'm mostly talking about having working audio meters while recording, accurate displays of remaining battery life and hard drive space. You know...like the basics!

yeah and the other 40+ 4K imaging devices due on the market this year..

Awesome! Anyone else have a feeling that this was done (price cut) due to the announcement of the GH4?

I was going to just confirm this, but looking into it, Its actually better than that: Its actually 4:4:4 With 1080p 4:2:2 you have 1 chroma sample for every 2 output pixels for a total of 1,036,800 chroma samples. with 4:2:0 you have 1 chroma sample for every 4 output pixels for half that amount (518,400) . But since the number of output pixels in quadHD 4K is four times as much as 1080, even with 4:2:0 you still have 2,073,600 chroma samples. That's a chroma sample for every output pixel when you downscale to 1080. Very interesting.. :)

What BMD REALLY needs is to ship their bloody cameras. ;) But I agree. The sensor is the last thing they should be focusing on. How about giving users the ability to... I dunno... review/delete clips? Have a decent battery? Some kind of total runtime countdown? A myriad of basic camera features that any decent company would think to include in a quality assured product.

Thanks, I'm not the one to ask for magiclantern workflows as I have only used it once in that vid. But I can tell you that the new .mlv module is very handy. You can preview your files in camera and watch them on your computer with the mlv player. So that is a big improvement over the old .raw format. http://www.magiclantern.fm/forum/index.php?topic=7122.0 Regarding post-production workflow I always use the same. I have a creative cloud subscription so I always use; premiere, speedgrade, and after effects.

Then: Explain to him how he's wrong about the ugly noise texture in all MX footage, especially tungsten-balanced, making the image look cheap and chunky and digital. Explain to him why the shadows get so chunky and blue in any tungsten-balanced Red scene, whereas Alexas can be shot under any lighting condition. And then go on and add why the Alexa's superior low light ability is irrelevant. Explain to him why it's irrelevant that the Alexa has a smoother noise texture, much more like film. Explain to him why, despite the Red's 13.5 stops of DR being is a total lie (in fact the camera has no more DR than the C300, less than the F5, and a magenta-tinted highlight rolloff), it's still better than the 14.5+ stops smoothly handled in the Alexa. Explain why the Alexa's superior midrange tonality isn't significant. Explain why red code botching details in skin and foliage (again, some of the most emotionally resonant subject matter...) is irrelevant, whereas ArriRAW is fine and even prores handles these details well. Explain to him why the color science of the Alexa matches 5219 almost exactly and offers smooth creamy flesh tones and beautiful green foliage, whereas the red totally botches memory colors, but that's ok. Explain to him how he's wrong that the OLPF of the Red offers ugly internal reflections and color cast over highlights, whereas the Alexa rolls off smoothly like film. I'm curious. Explain how an ugly image with good specs looks better than a beautiful one with somewhat lesser specs. Personally I would shoot a C300 or F5 over an Epic; the Epic has a stranglehold on summer blockbusters for the resolution advantage, but the look is just so... ugly and the workflow so damn shitty. Yes there is beautiful content shot on red. But Prometheus, for instance, required a lot of CGI lipstick to dress up that pig. I do find the character of the Monochrome sensor to be superior.