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just to add, keep up contact with your second choice. in case the first one falls through. having a backup for each location has saved our butts quite a few times. most memorably, we were supposed to shoot on coastal bluffs in Malibu. the day before our shoot, they caught on fire. my producer was able to shift everything to the back up location in long beach and we didn't miss a beat.

Fixed EF mount is a disastrous choice. Infact the lack of m4/3 mount option from RED and BM on their Ursa is a mystery as well. When you give users the ability to stick a SB ultra or SB XL on the camera you open up vast cost effective optical options. A m4/3 to PL / oct19, oct19, etc etc adaptor would also allow use of cheap LOMO s35mm primes. Exactly the same mistake BM made with the first cinema camera EF version. Everyone wanted m4/3!

Don't push it, man of the renaissance... LOL Don't try to take advantage because some other poster said yes in some other topic as the only way to make a point on yours ;-) This test (not mine) is "my contribution" to this thread: http://www.eoshd.com/comments/topic/9390-sony-a7s-ii-is-out/?do=findComment&comment=106693 sample extracted from (minute 28:30): https://vimeo.com/114978513

Sad answer: It's RED.

In addition to the items you already mentioned (sound, power distro, etc.), take wide angle photos/videos from each corner of any shooting room. Scout/plan staging areas for equipment, hair/makeup, craft services, wardrobe, actor privacy/dressing rooms, etc. Take light meter readings, and bring a compass determine which direction windows/doors/openings face. Gauge the cooperativeness of the property owner/caretaker. If you plan on sending light through a window, note the height of the window from ground level outside.

Hi all, been reading along for a while... As a photographer wanting to learn more about video, I found this site and forum which introduced me to anamorphic video on DSLR. It's quite the niche, but a lot of fun and you have a great community here. I'd like to compliment Tito and Bold on this great piece of work. Already a brilliant resource, looks very pro now. I'll try to add info on my recently acquired and somewhat mysterious "Widescreen Supa-60 1.5x", as there is nothing on the web about it. Would it be useful to add a single file to the database with a list for lenses that are known by name only (like the aforementioned Elmoscope II)? Could give people that are interested in searching for anamorphics some leads... This and this list on the super8wiki have been helpful for my eBay quests.

Hello all, Tito has kindly allowed me to do some streamlining of the Lens-yclopedia database: I have templatized all the entries so key information is in the same location when you cycle through the pages.The template improves overall readability of the information.I've broken up Mounting Solutions into To Filter, To Taking Lens, and Lens SupportI’ve changed the Index to a spreadsheet that provides key stats for easy ‘comparison shopping’I’ve removed a couple lens entries that had no (or next to no) information.I've added a few bits of info on various lenses as I went through, particularly links to example footage.I’ve made significant updates to the B&H and B&L entries based on the info I gathered from EOSHD, as well as other locations. I'll keep adding to them as I embark on modding/using my lenses.Check out the updated Lens-yclopedia here. A great big huge thanks to Tito for allowing me to build on his great work. And to all the folks who have responded to my info-seeking posts. The information people have provided here has been invaluable for a newcomer like me. I was surprised at how much info I was able to find on the B&L, I cited sources in the Lens-yclopedia entry where I could - I would love to see all entries given source/reference links. I know people’s time is limited, but even just a morsel of info here & there would really help re-invigorate the database and make it more robust. A little crowd-sourcing can go a long way! I am considering periodically starting ‘Seeking Info About X Lens” threads to build up the other lens entries in the Lens-cyclopedia. If this is something you would like to see (or help me with), please chime in. If you want to send info my way (corrections, answers to red question marks, Lens-yclopedia functionality, etc), I will find time to update the database appropriately. Cheers, |. . | .|

I have a Mk II and I did some extensive tests with external ProRes recorder. There is tiny bit of improvement but for me it was not nearly worth the upgrade in file sizes. If I were shooting a 30 second spot that was going to be on television I'd probably use it. Check out what this guy has been doing with the Mark II. Great spots!

That is indeed how it works. It downsamples a 4K sensor readout to 1080p very early in the image processing pipeline to improve SNR and color. Here's a long boring white paper from Canon explaining the finer points. http://www.cs.ucsb.edu/~mturk/imaging/Misc/EOS_C300_New_35mm_CMOS_Sensor_WP.pd I don't know much about internal vs external recording as I haven't tried them both, but count me as a +1 for exposing to the right on Canon cameras. As long as you avoid clipping any color channels, it seems to respond well to bringing the image down in post.

Shoot in log and expose to the right. Don't believe the 35% middle grey Canon says in log. Aim for 50-60% with caucasian skin tones. ProRes is nice but it's really not much more detailed than the mp4 or AVCHD if you expose correctly. There are tests around youtube and vimeo outlining this.

The difference can be another one depending on our setup choices, as for instance where 500gr can make a whole difference: http://www.red.com/store/products/redvolt-xl http://www.red.com/store/products/redvolt On the leftover, this is the philosophy: http://www.reduser.net/forum/showthread.php?67366-Is-it-possible-to-use-Scarlet-EPIC-without-any-Red-LCD-or-EVF Yes, no reason on contrary. :-)

Excellent - never heard of it, would love to know more! Perhaps down the road, though I don't have bandwidth for that at the moment. If anyone wants to compile such a list though, I'd be happy to publish it

Your CFast media price seems a little wonky. Cursory search reveals that the approved Lexard 3400x cards cost: 128GB = USD 341.99 256GB = USD 677.80 And I mean, those are B&H prices. Guaranteed you can find a better deal. That said, this stuff (media prices) changes by the second, so I respect your compiling effort. I await the published Raven specs. Hoping for some real awesome DR and possibly even HDRx capability.

I am not engineer either. No need to be one nor a businessman to figure out a La Palice truth. That one on 10-bit 4:2:2 lighter than 8-bit 4:2:0 is the first time I've heard. That is, if same codec, same parameters... To be frank and straightforward with you. No, I won't show off and call you stupid in a public place. Nor thinking and writing you are this or that. Read your post again, you'll likely find inaccuracies in your post. I have no need to write the other side is wrong (you say) anyway. But I can tell you very straight using your lexicon, stupid is when we see real tests proving something and we insist this or that theory is the one valid and keep going what experience proves the contrary. Hey, the lady is not mine. The test is not mine, no need to send me the check. The results are there. Very explicit ones, to say the truth. A few others much prefer to praise their dolls. Yes, you and others here are also missing the point over there. Apart the fact, brands like to sell expensive toys and whishful thinking has a place but happens to be far away of reality most part of time, you are able to say 8-bit 4:2:0 is not favourable for banding (I've read lots of things over here but this one is new... LOL). OK, let's try to decode your saying, even though, you don't make the necessary effort to decode mine. Still on the variables? Who said bitrate/codec don't count?! So (no, not necessarily your saying, take it as sarcasm indeed), let's fulfill the 4:2:0 recipient with empty data and try to see if matches 4:2:2, why not? It reminds me those who think they actually record 10-bit in their external recorder only because they read the specs on the paper they're using a 10-bit codec, even when they stream a 8-bit output from camera. I only read blah blah but... C'mon, give me, you and everyone a break. This is not a contest to pick up the best smartass ready for. Neither a kindergarten. (your) point taken, thanks for the link, nice reading :-) PS: Last but not least, speaking of accuracies ; ) the overheating issues seem to come from processing, not sensor. Or you wouldn't be likely to overcome the trouble triggering from the external recorder.

How will you upgrade to 10-bit when: a) the manufacturers have their high-end to protect? b) compact size on large format is unable to go higher bit depth when internal 4K 8-bit 4:2:0 by Sony is out there to pop up full of overheating issues? The fact 4:2:2 recorded externally brings higher bitrate to you is the only viable choice you have going with a large sensor. Other than that, 10-bit also means a higher bitrate (irrelevant the degree for certain tasks; there's the point), hardly to see internally in these small "toys" whether we cry or not. And for some reason ; ) you have it on GH4 but not on Sonys via HDMI. Why hasn't Blackmagic released yet 4K in a compact package? Because they are too focused on the new Ursas (reason a) above-mentioned) is short to explain it... And when they will, don't count on a large sensor size. The best you can dream about will be the SpeedBooster route. Other than that, you're stuck on 8-bit. Whining for 10-bit or higher for this market segment is a futile exercise and meaningless. That test proves we have now a solution to help you out with banding. Not really significant for much other (banding as topic), but a way better than 4:2:0 (again, for banding). The comparison speaks by itself, the variables to second it only testify the grace. There's a difference between to dream with and following the t(r)ip. Reality-wise, of course ;-) No one here is against 'the higher', the point is the way those several existent differences (RELATIVE variations, certain gaps, jumps as you call them can weigh much more than absolute values) and variables can have an impact in our tools for real in order to comply some goal. Those you can use in the field. Not mere wishful thinking for a bunch of geeks we are here :-)

I think you'll find up there the answer you're looking for: http://www.eoshd.com/comments/topic/9467-ursa-mini-vs-raven/?do=findComment&comment=107970

cool, suspected somedy had but the threads are a bit long.

Hey Mattias, I put a clip up on Dropbox last week: https://www.dropbox.com/s/dqt77smrousu9vk/P1010462.MOV?dl=0

In my experience shooting Wide DR gets noisier and has more artifacts than c-log. I like to grade. When we say expose to the right we're talking about checking your waveform. Look for skin tones halfway up the meter.

Same here. I actually pre ordered it, and then cancelled when V Log was released, and now wishing I hadn't cancelled.

I love image stabilization on lenses but sometimes you need more stability or a faster lens. I use a tripod, I use a monopod, I've used gimbals. But sometimes I just want more mobility with a small rig and the ability to handhold a shot without looking like a moron with a big clunky shoulder rig. I'm talking GH4, A7S, etc. I love the simple gun stock options, but most seen built of garbage. What works best for you?

I'm looking closely at the Blackmagic Micro Cinema Camera now because of this. Looks like I already have all the support gear I'd need for it minus a cage and rod riser of some sort. Wish it was 4K of course, but color and DR are more important to me. And I think I'll be more satisfied with the results. optional global shutter and i'm expecting better noise performance given the better cooling inherent in the BMMCC's design (compared to the Pocket). ...sorry for going off topic.

I agree. This camera would be much better with an MFT mount - the original EF mount BMCC was a nightmare for this reason. (crop factor with EF lenses). We'll find out more on Friday. The big feature is the 4k 120fps, but I still think the URSA Mini 4.6k is very hard to beat because of the value you get with the package. Once you add ergonomics, the Raven will likely cost double, if not more. I'm very curious though because I'm in the market for a major new camera to film a combination of commercial and music video stuff.

If this is the Dragon sensor, don't expect much out of it in low light. Most DPs don't rate it higher than ASA 320 with the Skin Tone OLPF (the one that doesn't make human beings look like horrifying zombie people). And if you're fine with that level of low-light performance, I don't see why you'd go with the RED over a $2999 Ursa Mini 4K, which has a much lower system cost, larger sensor, and gives you both ProRes and compressed RAW. That's not even getting into the 4.6K, which, according to OneRiverMedia, can easily be pushed to ASA 3200 without issue, has higher resolution, delivers about the same usable dynamic range (except better balanced between shadows and highlights), and has an actual S35 sensor. Honest question: What's the appeal? In the current marketplace, where is the Raven's niche? I don't see our crowd going for it. Most of us will stick with DSLRs, mirrorless, and the lower-end BM cams. Higher-end owner/operators would probably stick with the Ursa, Ursa Mini, Epic, F3, F35, etc. I guess it could work as a B-Cam for Epic shoots, but you may as well just rent another Epic. I don't get it. But hey, would love to hear other opinions.

What about this? http://www.amazon.com/dp/B00N2GJCB2/ref=wl_it_dp_o_pC_nS_ttl?_encoding=UTF8&colid=2Q5O1612Q882F&coliid=IS7RGHI1QXKJQ Rode Videomic on top, lavalier receiver on the side.

On the rare occasion I'm allowed outside on jobs the logistics are left to the dedicated locations manager and production department, but for doing a visual recce of a location and taking notes to relay to others to sort out the nitty gritty details - Panascout is a decent little tool to have: http://www.panascout.com/

An EM5II.

http://eriknaso.com/2015/09/22/how-does-the-new-red-raven-stack-up-to-other-4k-cameras-a-price-comparison/

This is incredibly useful Bold. Cannot thank you enough. There's currently something called a Dyaliscope on ebay. Says it was made by H. Chretien and produces pink flares. Looks small. Might want to add it to the list.

10cm at 24mm and 50cm at 240mm.

@Emanuel Sorry mate, i can't answer your two questions as I'm not an engineer. I just know that things move forward and overheating might soon be a problem of the past, as sensors get more efficient. Your entire post sounds like you are arguing that 10bit will not be available in the future of semi professional cameras. well, you might be right and i never said anything against that. My post covered two things: A) it was stupid of you to blame 4:2:0 for the banding in the mentioned example. B) in my opinion 10bit is much more important than 4:2:2 for already stated reasons. i never argued about availability of 10bit in the future and i do hope you didnt refer to me when talking about "Whining". Now comes a part thats not obvious at all and i don't blame you for being wrong again: 10bit h264 footage will be smaller and less cpu heavy compared to 8bit footage, thus also helping overheating. "WHAAAAAT, you're completely insane pietz". Thats a fair reaction. See, because most of the cameras we talk about can output uncompressed 10bit footage over hdmi, its easy to assume that its actually recorded that way. For saving it inside an 8bit h264 file it needs to be down sampled to 8bit before its actually being encoded. thats cpu heavy and skipping this step might actually result in less heat. it also results in smaller files because a higher bit depth and therefore higher color accuracy results in less truncations errors in the motion compensation stage of the encoding. this increases efficiency because theres less need to quantize. I apologize, as you successfully stepped into my trap of making this point. It sounds like magic, but its Science bitch! btw dont take my word for it: http://x264.nl/x264/10bit_02-ateme-why_does_10bit_save_bandwidth.pdf

Thank you. I have AE as part of CC so I'll look into it. I have also found the "draw a mask" tool in FCX which gets round preset shapes and looks to do what I need.

I started playing with photos because I realised that it can be more appropriate than recording video most of the time. I love the night, I love lightning storms, and I love the seaside. So this image is a scene that I am fond of. https://500px.com/R3dshift

True Detective Season 2 did a 16x9 extraction. They shot with Panavision lenses. And a show called Miracles starring Skeet Ulrich shot anamorphic and extracted a 4x3 frame from it.

That shot is a pretty extreme DR example. Sun blasting the pavement. It's also 1080 at 96fps which is the worst in regards to overall res/detail. Look at other shots and you'll see a difference. Trust me I've been shooting with the GH4 ALOT since it was released and the highlight rolloff is much improved.

Who said 4:2:2 is more important than 10-bit? The difference between 8-bit 4:2:2 and 8-bit 4:2:0, it is more significant for your grading. Much different statement. Of course, for certain type of grading. No mention of raw or alike where even 10-bit is short by default. People too much focused on the 10-bit holy grail tend to forget ; ) But, banding was the topic (hence my "the-real-difference" of my post; numbers help but like machines need i-n-t-e-r-p-r-e-t-a-t-i-o-n :-D) : http://www.eoshd.com/comments/topic/9390-sony-a7s-ii-is-out/?do=findComment&comment=106562 Speaking of math, let's see with a very simple case: 1) 100,000; 2) 1,000,000; 3) 10,000,000. Where's the bigger difference? Now, take these figures as bucks and your single expense as any number between 100,000 and 1,000,000. Which step will make the whole difference? Here goes your single example on pictures, posted and reposted more than once: http://www.eoshd.com/comments/topic/9355-canon-announces-development-of-8k-cinema-eos-camera-and-120mp-dslr/?do=findComment&comment=105935

LOL Good one, Ebrahim! I am a bit done to see people whining of sky bandings but never tested it with a fancy HDMI recorder to compare the differences... ;-) PS: From a previous discussion on dvxuser: http://www.dvxuser.com/V6/showthread.php?335344-New-PIX-E-recorders-monitors-from-Sound-Devices&p=1986537988&viewfull=1#post1986537988 sample extracted from (minute 28:30): https://vimeo.com/114978513