Leaderboard

No way. I've been using the 4.6k with no problems for months. The new 4.0 firmware puts it over the top. 4.6k, 4K DCI, & 3K anamorphic ProRes. Custom LUT display. 2x desqueeze on the 5" LCD. I've finally found a camera that is perfect for what i do.

Display units in stores are always broken and man handled in my experience. No matter what brand. No, I think they will stay on for a while still. On the still side its another story. Sony, Panasonic, Olympus, Canon, Nikon, Fuji, Pentax.... This won't last. There aren't enough customers. Samsung is not the last to go.

Yeah, delays are to be expected, but I have not forgotten the black sun incident... didn't they just throw in the towel on that one? Or the magenta cast issue. BM is why I'm holding off on any purchase of the Terra until the reviews are in. I need real user feedback before I'm convinced. I done with being a guinea pig.

I had been listening to people who told me, look, it's not even real HD and UHD is the way to go nowadays. They were right, I saw the Pocket's limits in resolution, and it started to bother me. I sold it and every piece of equipment associated with it. Now I have tons of footage from the said people in glorious 4k and I can watch it in native resolution and I can compare it to my old Pocket footage. And I could cry. Resolution isn't everything. What about handling? People have exact CWB, various implementations of AF, AE or - and this is not exaggerated - millions of combinable profile-settings. None of these has the Pocket. And yet, all these funky functions don't seem to help much, because of the image quality. You don't believe that or see that? Then be happy, stay happy ...

I wish they'd just focus on developing a killer new model of the BMPCC. To me, it looks like they've wasted a ton of time and money developing all these niche cameras when the one camera they have that sold reasonably well and has broad appeal is in dire need of a hardware update. One or two cameras for BM is more than enough. Keep it simple. They have spent a fortune developing all these other cameras. Just focus on improving the 4.6 and the BMPCC.

Over at BMCuser, someone posted that they dropped their Mini 4.6k, it landed on the handle & cracked the casing, causing damage to the mother board inside - BM wouldn't repair it! However, it does produce lovely images, if used by someone who knows what they're doing... I personally think that they'll keep going, but will revert to smaller packages (box like cams) - if they can figure out how to heat sink in a smaller package (the same user took his Mini apart & the majority of the camera is dedicated to the heat sink module). You've got to remember that BM cameras are budget cameras & they will have to cut corners in quality/build to keep the prices competative & low. You've got to admit that the images coming from these cameras can be awesome & I hope that they struggle through, just like RED did at the beginning. I believe that in another 10yrs time, we'll be talking about BM cameras in the same breath as RED & maybe ARRI. The biggest problem that they have at the moment is lack of user knowledge & this is due to the low price of some of their cameras - for every great user, there are at least 10 numpties whose lack of filming knowledge gets exposed as soon as they pick one up. They are not DSLRs & shouldn't be mentioned in the same sentence, let alone compared to them. If you don't get this, then DO NOT buy one, because you're probably the type of person that hasn't the time or patience to learn how to use them. Just look at all the [stupid BS] hate aimed at the Pocket camera: poor battery life, bad screen etc... 45mins time limit for battery & SD card whilst filming PR. The screen is by a country mile not the worst i've ever used & I seem to manage very well nailing focus - I wear glasses, which adds an extra dimension of difficulty to the whole thing. And these same people talk about wanting to replicate a filmic image, just imagine them using a film camera that has a max filming time of 12mins - people with no skill or patience to learn will complain about anything if you let them, it's how they cover up for their short comings. It's a crying shame, but it's their loss........

I'd keep it... I'm still annoyed at myself for selling my 5Diii (with ML) in order to get the better spec'd A7s. When you find a camera/image you love... better to stay with it.

after week long extensive tests, I finally come to conclusion that I'd use Gamma DR standard with -15 sharpness and MB15 for a uniform and flat skintone look, this look is good when the actor has no makeup but for more gritty look I use gamma C which gives more color depth especially on cheeks are more red than the rest of the face however I recommend makeup to smooth the face "BB CREAM" works nicely. I didn't like -4 sat and -3 contrast nor -4 contrast and 0 sat because no matter what you do you can't return the pure black back on, if you adjust black level or contrast it affects the entire image, that's why GammaC is very good for darker tones, like horror, thriller, mystery but Gamma DR is good for comedy, romance. For nature, outdoor, buildings I prefer Gamma C, this is because it has much less macroblocking in the blue channels "sky basically" unless your sky is cloudy maybe you want Gamma DR. with Gamma C you want to expose to 0 this is because its blacks are darker, for Gamma DR I underexpose to -3. remember we are using 8bit color, professionals use 16bit color for flat profile because they have the headroom to do the grading, our cameras have to be adjusted as close as possible to your final look otherwise it will start breaking up especially walls, skys and flat surfaces where repetition of pixels occur. I also ordered a lens filter glass "Tiffen Black Satin 1" this is so I can smooth out the face's blemishes, because the camera is too sharp in order to reduce macroblockings which occur when there is too much details in sky, flat surfaces ect..you cant fix this in post it has to be fixed before the image hits the censor. Also thanks to this forum for my research, I tried all your settings, without them I wouldn't have come to my personal conclusion

Lousy camera operator. Existential decision. Spent too much time and money and wasn't creative. The best film is the film that is actually made. And the worst excuse in summer 2016 is that I didn't own the right camera. I always had the right camera. The Ursa Mini would have been the momentary object of my NCD, a more reasonable one perhaps the upcoming GH5. What I mean is, if a fail with the Pocket, I fail with any other camera. If I succeed with my iPhone, the success would only be gradually better in the end had I had an Alexa instead.

It's very interesting. In my opinion I think that Blackmagic is the camera manufacturer with the biggest potiental today. I'm tired of all these cameras with low video abilities for pro. I mean we need RAW, we need at least 4:2:2 10bit, we need ProPres internal, we need a serious LOG profile, we need 4K 60fps minimum, we need < 5000€ price, etc. We are in 2016... For sure Sony, Canon and Panasonic are able to do that in a DSLR but they don't want, to prevent cross market products (otherwise, overheating seems the only problem imo). Recently I bought a used Blackmagic Production 4K in pack with SSD and lenses and even if this camera has some bad points, there is no competitor at this price. Hope Blackmagic will not become as RED and create a camera that cost a house.

C300ii is a beast. You will see it near 3000$ in no less than 10 years time. For whoever mentions Sony A7 series as the only true hybrid cameras, I am pointing them to the active little community of Samsung NX1 owners around here. In our opinion, NX1 are more hybrid than hybrid! I am not going to mention specs (even though most are in favor of the NXs) but ergonomics/battery life/menu/heat management is from your cameras of the future.

If Nikon can release a D750 successor that has no crop with its 4K then Nikon has a good shot at stealing away a healthy sized chunk of the market from Canon.

It's really misleading... They use a still life scene consisting of about 6 stops of dynamic range at best, shot at close focus. The differences in resolution are minimised and it doesn't really tell us very much. The 80D for example looks like abject shit when you shoot landscapes in video mode with it Something that a stamp pinned to the side of a light box doesn't quite convey as well... Wow you have low standards. RED... What is the point!??! Fastest contradictory statement ever on the forums? The 5DS actually does quite good 1080p so if you have a lot of money to flush down the toilet on mediocrity it is your next camera....

I am just a guy with an independent voice in the world of camera reviews without hundreds of cozy ties to people from the manufacturers, without ads splattered all over the screen, without sponsors on my every video, yet still I find EOSHD mired in a world of cut throat rivalry. Only very occasionally like in the beginning with DPReview have I been given a leg up in this industry and even then it only takes one person like Barney to massacre that relationship too. The other blogs like NoFilmSchool, Cinema5D and NewsShooter spend 10's maybe even 100's of thousands of dollars trying to punt my homebrew EOSHD site into oblivion and I just find the whole thing utterly distasteful. Rather than offering a new talent an opportunity they instead I am treated like just another commercial rival to be beaten. In the end it is up to you guys to choose. The managed platform of platitudes and advertorial, or the honest opinions and educational books of an artist/filmmaker. May the best guy win.

The video crop factors of the current 4K cameras, and an easy way to calculate crop factors... Read the full article

The biggest issue with life is that there is no structures, no resolution, no ending. There is no order. It's a mass of complete randomness, where being good or bad does not matter. Some times you get caught, some times you don't. Just an endless mess, floating in space, a turtle's hallucination. Vs film - a good film - it takes you on an emotional complex journey - a window into characters that are interconnected and with emotions and ideas that matter. It all matters in there. A good film can be better than life itself, just like a good book, a good video game - an experience that elevates you to another place. With the scam chapter on this camera nerd site not closed - it will never be closed. It will continue forever. There will never be a resolution. The scam artist will not learn his lesson and become a good human being. Life is strangly unwritten and messy and frustrating and we're all just floating around in it. Never to know what we should have done better.

5d Mk. III Magic Lantern

As someone pointed out earlier in this thread, when Canon adds a "5" to the end of a X series model number it means only the addition of a SDI output, and sometimes timecode. This happened with the XA10/15, XA20/25.XA30/35. XF100/105, and XF300/305. I would be shocked if it was any different with the XC10/15.

Personally I see no use other than the 120fps for 1080p. The 4k quality is so much better and the possibility to reframe and stabilize before outputting 1080p it is a no brainer. The only reason to use the S35 1080p is in case that you need to record for many hours something that I never do, but I understand that could be something that others need. The only thing that the 1DC has better is CLog, I would take the 4k60 DPAF over Log any time but I do tons of one man gimbal stuff for sports so my needs may differs from others.

Agree with all of this, but image beats all for me so I can't see myself ever switching to Sony or Panasonic. Not only have I always found Canon's color science to be dramatically better, but the quality of the image itself just looks more filmic to my eyes. Not sure how to explain it exactly, but Sony has more of a "modern" feel to it whereas Canon is classically cinematic.

GH4 looks pretty good in these shot. I think your angle sells it. Funny you mentioned the diffusers.... right after reviewing the raw footage we had the same thought. Below is a frame grab from the second episode that I am currently editing. The lighting is completely different as is the setting. I might move the subject a little closer to the wall next time around to get some back-lighting, or use a reflector to bounce some light from behind. I think the softer light is more complementary. And don't worry about not being an expert.... I'm here to learn also, and I value all constructive input.

Ah so I see what is happening. C300 is everywhere and cheaper. Sony FS7 if you need slow-mo C300 Mark II butts up against the higher end RED and Alexa stuff, whereby you may as well rent one of those instead. It is kind of in no mans land and a victim of the C300 and C100's continued popularity. Canon have blundered - ooops.

BMD's problem has always been quality control. Sadly, they seem to have only gotten worse with the Ursa Mini 4K and 4.6K. They don't learn from their past mistakes in rushing cameras out before they are ready. I think it has something to do with the fact that they source parts and do not manufacture their own circuits and sensors as with RED and the electronics conglomerates (Sony, Panasonic, Canon). They are a small camera operation (setting aside their post-production business, which is much older and more established) and offer niche budget products to indie filmmakers and videographers. I'm sure they will continue to focus on this market as opposed to producing cameras for larger productions, which require extensive service arrangements and logistical support. I shoot with the BMPC-4K and I had a 4.6K on preorder last year. Once I learned about all the problems, I cancelled it just before they shipped it to me. Currently, it's just too much of a risk. Perhaps when they have figured out all the problems, I can be confident in ordering one again. As for the price/performance, there is nothing even close . . .

I was describing the rental situation in my country. I can understand not a lot of C300ii being rent, as for most cases version i is just sufficient. C100s are the clear leader in sales as most customers do not even care (or know that exist) about 4K. Honestly, only in special occasions we rent a Sony for slow motion, in any other case, why would we? I have the NX system for 4K, plus we use a JVC LS300, all the other cases it is C100i & ii and C300i. We still use 3 Canon markIII occasionally, but if I could convince my other partners they would have been replaced by NX1s instantly! For anything more, there is always a Red with a dedicated assistant for cheap (like 300$ per day), or Alexa.

Very true. It's easy to get caught up in gear. My current camera is not perfect, but I know it's good enough to help me to tell a story, because others have done so. Like you, I realize, if I fail, in the end I can only blame myself. I'm forcing myself to shoot more. And while it's scary to put your work out there, at risk of harsh judgement, it's the only way to learn if it's any good. Personally, I've turned my attention to learning filming techniques and editing... getting better at the art of film. The gear is now secondary.

I've never used the D5500, but I love the video I have seen from it. Every time I am convinced to buy one... I decide to go another route... Due to a better deal. Plus I am waiting for the body price to drop a bit. With that being said, what don't you like about its usability?

It's in the edit suite Italy was fantastic.

About firmware update ILCE6300 V1.10 : updates that are not described in the release note and probably Sony does not like to speak about: What I describe here affects the camera when used together with a: Auto-Focus Mount Adapter EF-NEX for Canon EF lenses to Sony NEX Mount and/or b: speedbooster (in green mode). 1.Camera set at : Movie mode and setting: movie/hfr>aperture priority Supposing you have a lens with f=2,8 on the adapter. a. Firmware v1.00 (previous): While you turn the dial knob to set the aperture (e.g. at desired f=11) you read the desired value on the screen but in fact the aperture will stay at 2,8. It will be really set at the moment you press the REC button (and you will hear the slight noise of the aperture blades). So there is no way to have depth of field preview. b. Firmware v1.10 (new): While you turn the dial knob to set the aperture (e.g. at desired f=11) the aperture blades are set real time. So before you press the REC button, you have depth of field preview. So with the new firmware there is a different way in handling the aperture during movie mode: The real aperture value is now set before you press the REC button. 2. On my previous comment on March 2016 at the link: http://www.eoshd.com/comments/topic/19110-sony-a6300-4k/?do=findComment&comment=137969 I describe a firmware V1.00 bug that: PAL switched to NTSC a6300 camera would not set the correct aperture on 24p movie modes. This bug was fixed with the new firmware. Hope my notes will help some people.

I'd seriously consider the Panasonic G7 in 4K, plus GX80, and the Sony A6000 (& if budget can stretch... the a63000). Or secondhand BMPCC (but no 60p, and a new BMMCC with 60p costs quite a bit more). Otherwise nope, I think there is not many other solid good alternatives. Waiting a little while for the Panasonic G80 to be announced might be a smart move.

It *could* be done, I'm just pointing out reasons why I personally feel that is unlikely.

EditReady is by far the best.

This is going into an article so it has to be right... As others have pointed out, when a camera does a 1:1 readout of the sensor in 4K mode, you can JUST use the horizontal resolution to calculate the added 4K crop of the full frame 16:9 window of the sensor. This way the math is really easy - just by dividing the total horizontal resolution of the sensor by the resolution of 4K can you get the crop factor. 4096 for DCI 4K or 3840 for UHD So I tried it on a few cameras and it gives this - Canon 1D C (DCI 4K) - 1.26x (5184 / 4096) Canon 1D X Mark II (DCI 4K) - 1.33x (5472 / 4096) Canon 1D X Mark II (UHD) - 1.42x (5472 / 3840) Nikon D5 (UHD) - 1.45x Panasonic GH4 (DCI 4K) - 2.12x Panasonic GH4 (UHD) - 2.2x How is this mathematically, does it stack up? What is interesting is how little difference there is between the 1D C and 1D X Mk II in DCI 4K after all... I think most people were quoting the UHD crop when it first came out. The field of view difference here we are not talking the difference between 3:2 full frame and cropped 4K. We are talking the difference between 16:9 full frame 1080p and the cropped 1:1 4K window.

agree agree

It should hold value as a stills camera for quite some time. I bought my 1DC for less than the cost of an A7sii and sold it for pretty much the same cost (think I added €200). When I bought it, it was sitting at the very last spot on a market site. It was their oldest ad and looked unsellable. But when I sold it I had no problem moving it fast. I simply called it "Canon 1DC/1DX for sale". When people called and asked I explained the differences and they thought "wow a 1DX for this price and it does some video thing as well!" A 1DX is still much more expensive around my parts.

Not gonna happen. Nikon's main problem is they don't have their own fab. Having Sony as your sole supplier makes you encounter with some consequences. I think they will deliver a 1.56x crop (6000/3840). Do you really think Sony would give them a 6k/30fps sensor, while cheap enough to put in a $2k body? I just fear they don't realize how important is D750 line for Nikon shooters who need a hybrid system.

And with the 1DX Mi Canon demonstrated they could bring the 1DC to market for half the amount that they did. Both cameras are essentially the same and employ the exact same sensor. The 1DC's circuit board adds a headphone jack, heat sink... there is also a slight difference to the firmware. ChaChing! Mark my words, if there is a 1DC Mkii (and I doubt there will be) it will tip the scale at the $12-14K mark.

I use EditReady to convert to prores. It's fast, you can use a LUT during conversion, lots of metadata options. Nice program. And it's cheap.

The 1DC is a great camera. If I were in your place I would keep it and get my monies worth by using the heck out of it. But that said the 1DX Mkii is also great. Granted, the file sizes are nuts for 2016. But there aren't any other cameras in this format that can deliver the colors and dependability of the Canons. These things are tanks! Honestly, if they do not fit the bill you might need to look into a dedicated cinema camera. Blackmagic, Red or the long shot Kinefinity (still on my radar... cautiously). In any case, you have a great camera, shoot something. It will get you excited about it again.

OlikMIA: No, WE are representing a minority segment! As the forum is more video orientated, it is normal to expect people to be more enthousiastic with "cheap" C300iis, than expensive hybrids. Panasonic is always interesting but they have to overcome their sensor size (I do not see them going FF with the GH5), Sony is Sony (in a bad way). For many people mkIV is just right, maybe it is ok for you too. Hybrid/mirrorless cameras are the present and the near future. I do not see the point of dSLRs anymore and I am not that crazy about conventions such "I want full frame".

If you're not a big video fan, not a movie buff and don't own a t.v. why not just stick with stills?

By releasing the 1DX II, Canon has already demonstrated that it can bring this technology to market at less than half the cost of the original camera. A 1DC II is not going to cost $12K, or anywhere near the price of a C300 II. It will be a premium version of the 1DX II with a price tag of around $7-8k and it will add C-Log and a few other exclusive cinema features. It will also not cost Canon anything much on the R&D front. I've been certain about the 1DC II as soon as I heard about the 1DX II (especially with the lack of the cinema features from the 1DC). One follows the other, just like last time.

Canon Rumors forum is his playground. August 26, http://www.canonrumors.com/forum/index.php?topic=30595.msg618057#msg618057 @Ebrahim Saadawi, somebody might inform dean and stuff at Faculty of Oral and Dental Medicine of Delta University http://deltauniv.edu.eg/new/dentistry/?page_id=1593 and Hospital Manager http://deltauniv.edu.eg/new/dentistry/?page_id=1163 Be rational. I'm sure you don't want to get kicked out of school.

This defies conventional thinking about the GH4 crop but I have been estimating it to be closer to 2.5 for DCI Cinema 4k and 2.6 for UHD based upon the calculations from this article: http://gh4crew.co.uk/?p=460 FHD 1920×1080 (16:9 Full Sensor Width) crop factor = 2.18 4K 3840×2160 (16:9 Cropped Sensor Width) crop factor = 2.18 x 1.2 = ~2.6 (test calculated: 2.616) C4K 4096×2160 (17.07:9 Cropped Sensor Width) crop factor = 2.18 x 1.14 = ~2.5 (test calculated: 2.485)

It's a well known artifact with sony cameras. Referred to mostly as 'highlight aliasing'. Google 'highlight aliasing' and you will find many hits. It is a lot more egregious in HD than it is in 4k but its clearly still there. Aparently It was even apparent on the f5 and f55 but was addressed and removed on those cameras. On other cameras like the fs700 it wasn't addressed. However, people observed with the fs700 that it could be bypassed with Raw recording. Go and look at videos shot with sony cameras. Now that you have seen it you will notice it everywhere! Even in cases were you can't see it obviously it still alters the overal look of the image as a whole, making it seem over sharp and less organic. Its a big contributor to sonys reputation as giving a video look. The good news for you is that it is smaller in 4k and in most cases people wont notice it.

He is. http://www.canonrumors.com/forum/index.php?topic=30545.msg616264#msg616264 This guy is a piece of shit. He needs a good lesson. Go, open an account everywhere he posts. Everyone of you. The least we can do. It's a shame to read he got scammed to claim for Justice alone.

Nikon 50mm f1.4, aperture f.2, iso 100, shutter speed 50. Original files.

Hello everyone! Few days ago I finished editing my last short timelapse video. I put a ton of work into this (shot last year, edited in 9 months, just because I couldn't focus on in completely). Edited in ACR and Premiere Pro. Opening title in AE. Please read the video's description for camera info. Almost every shot is done in silent/electronic shutter mode, works like a charm for timelapses. I have some complaints about camera, I'll post it if anyone will be interested, but other than that, it is a great little tool!

Rolling shutter, although not a dealbreaker to many