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Back to basics. Default Gamma DR settings with sharpness at -10. MBL = 0. 16-235. Film Convert (Arri / Alexa / Rec 709 - Astia 100). I love using this camera. I know they are exiting but I wish they gave us one more FW update for it as a parting gift (VERY doubtful). NX1 & both "S" lenses.

The love for the 5D RAW video image quality seems to underscore what the Imaging Science Foundation has been saying for years - resolution matters far less than other aspects in the overall picture quality: http://www.trustedreviews.com/news/isf-contrast-still-the-most-important-aspect-for-picture-quality Their top 4 attributes: 1) contrast ratio (dynamic range), 2) color saturation, 3) color accuracy, 4) resolution. I'd easily give up the 4K resolution of my A7R2 if I could get 1080p raw with the quality of the 5DmkII / III. I don't know if I would give up the size, portability, and ease of use features like autofocus of the a7 system for it though. Just give us some tech from 2008 in our new cameras already..

I thought I'd start a topic relating to The Hateful Eight. I'll start with my opinions of the movie... **I'll aim to not spoil the movie for those yet to view it. But please stop reading if you feel I start going too deep into things** I watched the 4th screening on the first day of opening in the UK, at Leicester Square Odeon, London. - The only theatre screening in 70mm in the UK! We were sat close to the optimum position - second row of the Royal Circle, 4 seats from the centre position. The most expensive seats in the house. It cost me £25 for the ticket, £60 for the return train, and £70 for a bed in the hotel across the road from the theatre. So to view the movie I paid a lot of hard earned cash. I went in after 3 beers so was adequately lubricated and relaxed. Plot - Basic and simple. But I didn't feel it lacked anything in the way of entertainment. Characters - Very Very good indeed. Every character was loveable (in a QT character type of way). Each were given superb amounts of great dialogue. The dialogue felt very theatrical. The dark humour and dialogue drove the movie for the duration of the 3hours and I didn;t for one second start wondering when the movie would end. The Goggins/Jackson building of friendship and trust throughout the movie stole the show for me. Aesthetic - Stunning. IMO I felt that the overall resolution was somewhat limited. It certainly felt as if the Panavision lenses weren't quite sharp enough to fully take advantage of the 65mm format. I've seen 2.8k Alexa acquired movies projected digitally that felt higher resolution and more refined. I felt the 65mm non anamorphic imagery from 'The Master', 'Interstellar' and '2001' totally outdoes the overall image from The Hateful Eight. HOWEVER! - in no way did the perceived lack of sharpness affect the viewing experience. if anything I think it added to the feel. I expect if the film had been shot 65mm spherical and delivered in native 5perf/65mm 2.2:1 the overall image would have looked 'technically' superior. If anything I'd have liked to see a little more variation in the landscapes. Visially the whole movie felt very much like a homage to John Carpenters 'The Thing'. The isolation, the bleak and unvarying landscape, the small shooting quarters where most of the film takes place, the characters and the ending too. The lack of trust between characters and in particular Goggins and Jackson dieing on the bed at the end was very similar to how Childs and MacReady go to sleep in the snow. Music - Ennio Morricone's music was superb - they even used one of the themes from his soundtrack to The Thing -and it felt so right!. The way only a small amount of Ennio's music was used in a looping fashion felt a bit like Tarrantino had told Ennio that he was going for some type of humorous reference to the way John Carpenter only used limited material from the soundtrack Ennio wrote for The Thing. Visual Effects - Practical. Lifecasts of heads full of pig guts being blown up. The gore effects were second to none. Dialogue - too much of the N word IMO. I'd have liked to hear a bit more variation. I'd have used c**t a few times to break things up a bit. Goggins' friendly line to Jackson "I'm not dead yet you black bastard" was very funny. Comparison to Pulp Fiction - I know it wont have nearly as much rewatching potential as Pulp Fiction does. My viewing made me come away knowing it was meant to be a theatrical type experience rather than a watch at home type of experience. Pulp can be viewed on a pc monitor without the overall experience being harmed. Comparison to Inglorious Basterds - Better characters but lacks the varied scenery and very very refined lighting of Inglorious. If anything its a shame Inglorious wasnt shot in Ultra Panavision 70. I felt budget of The Hateful Eight was consumed by the logistics of 65mm. The need for way more light, the snowy locations, etc. Some of the side-on shots of the stage coach going through the snow looked like they cost a fortune, but don't have the impact that some of the scenery from Inglorious has. Comparison to Django - About on a par overall. If I gave Django a 7.8/10 i'd give The Hateful Eight an 8.4. I bloody love Christopher Waltz, but felt Tim Roth in some way filled the gap playing a role I feel Waltz would have filled very well. Intermission - Perfect. without the intermission the movie would feel too long. It was a refreshing change to be able to stretch legs, grab a fresh coca cola and talk about the movie. Overall - One of the best cinema experiences I've ever had. On a par with my childhood/teen cinema experience of Jurassic Park, Independence Day and Titanic.

I thought I'd make a sticky thread for sharing original camera files direct off the card. Always interesting for people to try the original files without having to look at someone else's grading and compression via Vimeo or YouTube! Let's get a bunch of stuff up here and make a little vault! We have so many cameras between us on these forums. 1D C, Red One, Cinema DNG, C300 II, FS7, we can really build up a nice collection. Here's my initial contribution: XAVC-L from the FS5 in 8bit 4K and 10bit 1080p - http://we.tl/yQO2ZM4HdA Comparison with Cinema DNG raw from the 5D Mark II / Magic Lantern - http://we.tl/HOACsCROeZ Got any Red ONE files Mattias? Also we need to find a better file host than WeTransfer as that only keeps hold of stuff for a couple of weeks and after that we'd have a bunch of dead links. But if you want to share WeTransfer links anyway, please do go ahead until we find a more permanent solution and I will keep a backup of all the files on my drive.

A few days earlier someone from bmcuser.com asked B&H on the phone, they told him 4-6 months. I'm not sure how accurate that is, but I don't think it's coming soon.

LOL dude those are professional voice overs by professional actors or voice over artists. Recorded professionally. People aren't just born with a "nice voice" able to do that kind of thing, it takes a lot of training and practice, and then there's learning the script so it sounds natural and the emphasis is all in the right place. Sorry if this sounds harsh but if you want it to sound like one of those you need to hire a pro.

Yeah, i really enjoyed the experience as well. All the actors were SUPERCHARGED. I could have watched another three hours worth. Having the intermission was wonderful. I liked having the opportunity to talk with my wife and friends about what we'd sen so far, as well as, grab more popcorn.

You guys have probably already seen it, but here's another vid:

Thanks.

Saw it last night. I loved it. The images were breathtaking as was the action, which had me tensed up quite a bit. Lubezki is at the top of his game. I liked the fogged up lenses on the closeups. The bear scene was awesome, as was the horse jump. Leo did a good job. I'm excited by these guys, the films they are making.

Got to see it last night, here are a few scattered thoughts. Spoilers indeed The bear sequence was intense and looked great/horrifying I loved the camera movement and the landscapes and lighting were pretty magical. Absolutely gorgeous throughout the movie. Did I hear that most of the movie wasn't filmed on Alexa 65? I liked how close they got to actors, but I don't know how I feel about all of the fogging on the lenses from their breath, what did you guys think about that? I need to see it a second time, but that did jump out for me. The film made me feel like a little baby, Holy shit. I could see Tom Hardy getting an oscar and Leo getting passed up again here.

Compared to the 700D, the D5200 is hands-down the better image. Big difference all round. But you may want to get a used D5500 if it's not too much more expensive, because of the flat profile. It grades the best.

A nifty device on eBay from orpheus_c, it uses the cage's handgrip as a large battery to power your Sony camera. Allowing for much longer run times than what you'd usually get from your FW-50 batteries alone. Curing one of the big complaints about this series of cameras, their poor battery length. http://www.ebay.com/itm/Kovacam-18650-battery-handgrip-DC-coupler-for-Kovacam-A7s-II-A7r-II-Cage-/121822159604

I have JUST finally make it work. Thank you, I appreciate your help, if it was not for you I would think my camera is broken.

Photoshop (which uses Adobe Camera Raw) will only have the Embedded profile available since it doesn't recognize Blackmagic cameras. ACR debayers in ProPhotoRGB, and then does another transform (to sRGB) on display and export. This is approximately equivalent to rec709 in Resolve. Resolve will not debayer in BMDFilm unless you set it to do so. Photoshop will not debayer in BMDFilm, because it doesn't know what BMDFilm is.

It was VERY pretty. So. Take that. Spoilers.. No, I really liked it. Some dream sequences were repetetive and useless. Didn't need him to look at the camera at the end. Also I don't really like how that "decent" redheaded actor is suddenly in everything.. but I thought it was a really great story really uniquedly filmed.

Super 8 never really died to those determined to shoot on it since it was always a comparatively cheap format to shoot even when all the main labs closed and a handful of independent vendors picked up the niche demand. Processing/DIY scanning at home can be fine if you are dealing with 50ft at a time - but can quickly become impractical. Kodak's new camera however seems to be several steps back to make film aquasition appeal to filmmakers as an alternative to digital. No single frame or interchangeable lenses? The new camera from Kodak is fine for a soft introduction to shooting film, but not much else. What Kodak should do is collaborate with Arri on a hybrid S16 and 2perf 35mm camera, using a similar concept to the new S8 ... The Dream: S16 camera would cost around £5-7k, form factor similar to an A-minima (200ft internal - 400ft external mag). 2perf 35mm camera - Arri 2c form factor...name your price. simultaneous HD video/audio recording via reflex (effectively a glorified video tap recording to SSD) - SDI/HDMI out - XLR in etc etc. Stock cost from Kodak could include Telecine service...user can edit or select takes from the HD proxy video that is then sent to Kodak via cloud. User can send EDL/ text file or the edited proxy video to Kodak who then TK only your selected takes to 2-4K resolution as .dng sequence or prores with synced audio - then they send you the master files via download link or physical drive. A collaboration with Resolve could make the software side really sing - also allowing LUT to be loaded onto the video assist on the camera to show how your selected stock will look when processed. Since you'd also have your processed camera negative, you would also have a physical master of your rushes. I hope this Super 8 buzz starts some kind of revival, film can look amazing when selected for the appropriate project. But I fear that unless a professional range of hybrid cameras get released as a follow up, film will remain an increasing rarity for the average Joe to contemplate shooting on for anything other than short form projects. The simple fact of the matter is - no new film cameras are being made anymore, Aaton, Arri and Panavision silently stopped making them a few years ago. If Kodak collaborated with Arri on a 2perf 35mm, I'd expect many people would want to buy or rent. Below is a reminder of 2perf loveliness - a hybrid camera could deliver this quality, in a more 'digitally friendly' workflow that a younger generation of crew have only experienced working with. It would at least give an additional option for celluloid capture....and if embraced enough may be able to be made as a cost effective rival to modest budget productions.

For 99% of us here, what the D5 can or can not do specifically does not matter to us. Because I won't be buying one any time soon, or even in the next 5yrs (maybe maybe by then it might have dropped in price low enough to buy one on a laugh. For instance I almost purchased a D2Hs for the hell of it recently). Instead what is so very significant about the D5 announcement is what it represents for video from Nikon, that they're bringing out 4K video the masses. Unlike Canon there is no restricting it only to their ultra high priced C line up, instead *EVERY* pro sports/journalist/etc photographer with a D5 will also be able to do 4K clips. Same can't be said for the 1D X users. Even more so, Nikon has added 4K video to their APS-C level camera. (could you see Canon doing that?? nah). Nikon hasn't been shy in putting better video into their lower end cameras than their models above it (remember the D5200 being a better choice than the D800? http://www.eoshd.com/2013/02/is-the-cheap-nikon-d5200-a-better-option-than-d800-for-video-no-moire-aliasing-and-good-detail/ ), so I wouldn't be surprised if the D7300/D5600 gets 4K as well. (maybe even the D3400?? Though maybe that is too low end... might need to wait for the D7x00/D5x00 to get it first). D620 could arrive this year with 4K as well. And for the poor Canon fan boys this is good news as well, as just maybe maybe this might prompt Canon to finally add 4K to their line up DSLRs! (other than their C range) Because no matter how many cameras Sony/Panasonic/Samsung add 4K to, well... Canon probably doesn't care too much (incorrectly so), as they don't recognise them as their direct competition. But Nikon is their direct competition, if anything will make Canon feel compelled to respond it is this, just like what happened when Nikon brought out the D90 and changed all our lives. Thus we should all be quite excited by the D5/D500 announcement! As it will cause a ripple that will create a bigger impact than many of us expect.

I often find that the light controls in front of a light fixture are more important than the fixture itself. There is a barndoor that is designed to fit directly onto those R40 photoflood bulbs. They came out decades ago and were part of the original Lowel-Light. I don't think that they are made anymore, but you might be able to find them used in kits, as kits of that Lowel-Light are included on almost every large truck. I have also seen them employed a lot in department store window displays using track lighting with R40 photofloods.

nice! can't wait to see some shots from that combo.

SO soft......

Canon straps even say which model it is if it's a "better one" like 7D, 5D etc. I guess that automatically gives you the admiration factor from the Rebel using peasants and the right to tell them to get out of your way ;-) I should use the "Minolta Dynax" strap that I currently have on the Nikon for the Samsung. Morituri te salutant! But I agree with your post... my heart would rather part with the D750 than the NX1 at the moment just out of usability reasons, which is obviously a completely different motivation than what makes most people buy cameras. Just wondering now what to exchange my SmallHD field monitor for, I kinda don't want to let that go either but I have only 1% hope that they'll actually fix the problem.

Maybe I'm unique, but my must-haves were pretty simple for an affordable DSLR. I would have spent up to $2-$3k for: APS-C/Super 35 sensor;At least 2k, pref. 4k (reframing for low-budget, 1 camera shoots and being able to pull great keys are huge for me);Ability to take a wide range of glass;Image with decent enough DR to be able to "light for the sensor" - I don't need 14 stops, I can light for 10.Audio meters, manual audio control, some sort of usable 1080 slowmo.I really wanted to love something from Black Magic, but those sensors meant Speedbooster, and the 2k cinema camera meant speedbooster and SDI monitoring. I really need at least 60p@ 1080, too. And freaking interchangeable batteries that last 45 minutes or so. The NX1 really hit the sweet spots for me, and then some. I don't take a loupe to shoots anymore for chrissakes. Technically, the image is superior to the Nikons I've been shooting for client work. Aesthetically - my D7100 is still "prettier" in some ways, and it's got nothing on BMC at their best. OK, find some tech guy to contact Samsung, license their tech, and create a reasonably priced cinema camera for pro, semi pro, corporate and enthusiast market. Give it Prores 422 to the card or an SSD, boost the DR and gives us some output options for raw or bit depth. There is a market - assuming it's Nikon or Canon's market is the big mistake forum posters here and otherwise make. I live in Dallas, which has a lot of well-employed people. Not just the rich, but those with expendable income. I'm really used to seeing the soccer-mom, the hipster dude, the dorky dad, the "I'm a big fan of live music" 20-something, all rocking nice cameras at shows or outdoor events. Look close and they have the mid-level zooms (not the 2.8 stuff but not the kit - fairly chunky F4 stuff in the $800 range). And the strap. For this market, the strap is of vital importance and equal to the physical size of the lens. It absolutely must say Nikon or Canon. I don't recall ever seeing a Sony or Panny strap on those shoulders. Can't tell you how many times I've chatted with such a camera owner - "Oh, I have that body" and you find they're shooting it 100% program/auto. They're getting the exact shots they'd get with a little mirrorless rig. But man, they look so legit! This, and semi-pros concerned with lens ecosystem is likely what did Samsung in. I've yet to take a single still with the NX1, but on my third paying gig with it. I'm a drop in the bucket market-wise though.

MLRawviewer is a good program. I have also used Raw Magic, a Mac app and that is a fairly good program. Here's a link to a quick and easy workflow. There are probably some better methods, but this is what I used while experimenting with my eos-m. https://jason-bowdach.squarespace.com/blog/2014/08/the-easy-way-to-use-magic-lantern-raw-straight-to-prores.html

Can anyone point me to a trusted source/online how-to for doing the post RAW process on an 5DII? Not looking for anything generic, something you've used that you've relied on and has served you well; made things relatively easy during the post. Never really had a desire to give it a go, but as cards and computers have changed, might as well see what's up.

For anyone interested in a GH4 (VLOG-L) + Atomos Ninja Assassin combo File Link: http://www.filedropper.com/assassins001s001t013 (1.88 GB) Camera: GH4 (VLOG-L Profile) + Atomos Ninja Assassin Lens: Sigma 18-35 + Metabones Speedbooster XL, F1.8, ISO400 File: Apple ProRes 422 10-bit, 4k (3840x2160), 24fps Frame Grabs Ungraded: Graded (IWLTBAP 9280 LUT):

This is the reason I'm not digging the new Blackmagic cameras. I think the old 1080, 2.5K images were so much lovelier.

I have been a little swayed by this post (I secretly believe Andrew must be a mastermind behind some sort of black market, used camera syndicate) but is it true that there is a noticeable difference (analogue vs. digital) between the Mark II and Mark III?

I remember having an argument a few years ago late in a bar about how film would never be suplanted by digital. I said: just look at Once Upon a Time in Anatolia if you don't believe me. The next day I checked and discovered it was shot on the F35.

Actually I think the BM Micro CC sounds really good with the option of Global Shutter as well as 60fps with rolling shutter. In combination with using LP-E6 batteries it's an amazing upgrade over the BMPCC when anyway using external monitoring. But the BMD release behaviour and zero communication makes this one nothing to count on. By the moment they halfway fixed the firmware problems there is already a successor announced. If the BMMCC would even have been designed with the 2.5k sensor to help with end-resolution and stabilizing, etc. I think it would have been a great thing, it's probably an amazing camera for gimbal work if it ever gets released. Edit: on the other hand I guess most people would usually rather shoot ProRes than Raw and then the 2.5k sensor probably has no advantage over the current 1080p anymore

I'd probably have the FS700 / O7Q combo in there too.... When you think what it offers up, it is very underrated and the raw image can be very beautiful. I saw a kit for sale for under $4k recently... 4K/120fps/raw for $4k, genuine bargain.

And who can forget Ed Davids epic Red One MX vs Sony F35 test. Its private but just google "red one mx f35" and click the video tab. First hit still works.

Red One MX 4.5K at max compression (=worst possible image ) 24fps ISO800 Nikkor 17-35mm @ f4 24fps http://www.filedropper.com/a165c0190101j8rdc (The focus is ok until she gets bored and lays down) Frame Grabs: Ungraded, Quick Grade,

Would love to see a user review with new firmware. That zoom rocker thing is also cool as hell imo.

So, I am back from my little shooting trip (See picture below ;-)) and I was testing the LS300 this afternoon (on the balcony) with my 12-23mm since I was not really impressed by the Olympus selection they gave me... Well I have to dig into the settings (I rested the camera) but look at these 3 samples. It look like that the colours are smoothed with some kind of candy effect. Are my eyes deflective or? Also if you check on the 3rd video, I have some strange effects on the electric poll on the right side, something that I never saw with my GH4 for example. Folder with 3 sample videos : https://mega.nz/#F!K582lYRB!0qD2XJUVcgbEseinx6lSEA

first world problems... 1 out of 100 will notice this after downloading the clip and not watching your video on vimeo or youtube. IF it is uploaded and watchable.

  Yep, you are gonna have to spend that $300 somewhere, either on Cineform or on extra storage.... In the long term, cineform will be much cheaper.