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I can't speak for everyone that has bought a 4.6K, but myself, and the 2 people I know in town who bought one, haven't had any problems with the magenta corners. I even did a stress test against a white wall at f/8 35-70mm.

You guys are surprised about the xc15? Why? You already knew this. Its a xx5 update. Usually that means an SDI port and nothing else. And now its all of a sudden a surprise. Find it strange. As I see it the audio port was all it should have gotten. Waveform is a huge bonus. I don't know anymore. People get happy, angry and sad over weird features these days. Same when a new camera (forgot which) had moved the mic jack away from the screen. People where upset even though it's a massive deal. It makes rotating screens actually rotatable. And instead they go apeshit over some bogus feature. I mean I get it. I got as much G.A.S as the next guy. But Im not emotional and I don't get all psychotic demanding this and that for free, calling people idiots or lay awake at night because of a frame rate. This whole looking at gear and hanging out on forums is imo supposed to be fun and relaxing. Don't get heart attacks over it. Bcause at the end of the day its just meaningless and stupid cameras. And professionally none of us "need" anything that isn't already out there to do our job.

"Dramatic dynamic range improvement" "Back when we were briefed by Canon about its update to one of the most popular line of digital SLRs in existence, Canon told us that dynamic range was one of the top concerns of current 5D-series owners." "A major leap forward" https://***URL removed***/news/3229755227/canon-5d-mark-iv-brings-dramatic-dynamic-range-improvements-to-the-5d-line ... So let's take a look at the reality behind the hype... Oh hey it's their own test scene... +6EV shadow recovery on a shot exposed for the highlights Samsung NX1 has it for breakfast The A7R II turns up and has it with milk and tea And the D750... 2 years old... Mentioned NOWHERE in the DPReview article, is an order of magnitude less noisy at +6EV recovery All in all meaning the 5D Mark IV has less dynamic range than the Samsung NX1. I double checked... Yeah it does. And that my friends is why in a nutshell I stopped being a writer for DPReview.

Its shape reminds me of a xenomorph's head, but not in a good way. I'm sure this will be a great camera to work with, shoot great images, do the job in many ways, etc, but as with all Canon cameras, the pricing and specs vs. that of its competitors just seem very underwhelming. If I had that sort of money ready to spend, I would choose an Amira

Here's another... Ticks alot of boxes, will be very pricey They give details about the CX15 here too at 3:40... nothing too exiting, as expected:

New news, it is shipping :-D http://www.newsshooter.com/2016/08/31/birtv-2016-kinefinitys-6k-terra-starts-shipping-and-gets-new-accessories/

I am working on one of these as well. The 1D C is a great test bed as it as the real thing, Canon LOG The dynamic range won't be as good as real C-LOG but the main reason I like LOG is for the colour grading and LUT possibilities it gives you in post, whereas standard pic profiles are baked in. If you're going to have a faux LOG profile it has to give good colour and work with most LUTs already out there for Canon LOG - even if that means going less flat and sacrificing some dynamic range.

You can't make a real CLog profile, just an S-curve to try to emulate it. I wasn't happy with what it does to colors and messing around in post to look good, so I stopped using it. I tried this back in May on the 1DX II.

Yes looks to be, plus the recent XC10 firmware update to speed up AF a little bit more. Pathetic and lazy.

It looks....nice. But not really a winner. There aren't many distinguishing characteristics, and the body design looks very derivative. It looks like the Varicam 35 and the Sony F55 had a baby, which isn't necessarily a bad thing, but I was hoping for something more akin to a Canon XL2 in terms of shape. And at the price, it's just way too easy to step up to an Amira. Hell, you can have a used Alexa with a 4:3 sensor for that price and be shooting on the best camera on the planet. I'm sure it shoots a pretty image though. We'll see if that and the hallowed Canon name is enough to move units.

Interesting. So the $30k market has another new competitor that operates the same as all of them. It's body is big and long by the look of it, so will be interesting to see how it sits on the shoulder. Reminds of the original URSA. Anamorphic de-squeeze, assumedly for 1.3x anamorphic lenses, as the sensor doesn't appear to be 16:9 And a 'modular design' - you know like every other camera manufacturer out there nowadays. DPAF is nice for some productions, but is it enough to keep it competing? At around $30k: -RED has 6k raw in a small body, at up to 75fps in 6k, 120fps in 4k -Panasonic has dual ISO in a small, light body (at half the price too!), plus their very impressive Varicam colour science -Sony F55 has F65 colour science in a body that's still smaller than that C700. -Alexa Mini has a 4:3 sensor, and an Alexa image. No 4k, obviously, but as we all know, not all 4k is created equal. Still a small, light body. -Canon has DPAF Interesting to see how it all pans out. I feel that if an amazing camera like the VaricamLT struggles to gain traction at ~half the price(ish) (assuming the suggested $30k of the C700 is correct), Canon may struggle. But then, perhaps the DPAF is enough to sway some (VLT has EF mount, but no AF).

Hahaha. This is so true. I have been around this forum for a few years now and noticed each year theres a new obsession on one particular aspect of cameras that many people here jump on and spend a lot of time looking for good and bad examples of that one thing. The problem is they have no idea of the settings or circumstances of the examples. And without a side by side shot with another camera you can not really make a fair judgement.

Confused people around so to clarify, if the rumor is true: multi-aspect sensor giving 20MP stills. 4:3 aspect 6k photo video mode. 16:9 4k video up to 60fps 10bit with better low light and DR.

Having a bad day? Title would be incorrect if I wrote C700 & XC15 announced. Instead, I chose a title that is correct today, tomorrow, next week, etc.

The first picture of the article to illustrate the increased DR comes from their review of the D810 and there is not mention of this... Kinf of misleading...

The build quality of the Mini probably won't be end of BM's cameras after all it seems the 4.6K is a very popular camera. One of the most concerning ones is that they apparently designed the camera to have a CPU right behind where the side handle attaches. There have been a few reports of the camera taking a fall and landing on the handle, breaking the outer housing, which in turn hits the circuit board breaking a CPU. In these instances BM has refused to repair the cameras leaving the owners SOL. https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=51171 My biggest issue with BM is that I really don't like the way the company, at least when it comes to cameras, operates. It is awesome that BM offers free versions of their software but the way they conduct themselves otherwise is downright disrepectful at times. They over promise and under deliever, they are deceptive and not really trust worthy. With the Mini two features were lost GPS in September 2015 and global shutter in March 2016 yet they announced at NAB the camera was going to be shipping in July 2015 when they were clearly nowhere near ready to ship. Some say it was over optimism but I don't buy it, I think they knew full well they wouldn't make that date an announced it anyway. Then for the following eight months they moved the ship date one month at a time stringing customers even though I am sure they also knew that it would not be shipping that following month in the many instances when they changed the date. It seems they like to create a buzz, offer a BS ship date to get people excited and focused on the product then string them along until it is finally ready. There are many other instances dating back to their very first camera and their communication still an issue. The biggest one for me is how they treated their URSA owners. At NAB they said that URSA owners would be given priority for the 4.6k sensors and would get their turret upgrades first. They even announced a lower price for the 4K URSA so new customers could buy it then and pre-order the turret for the same price as just pre-ordering the 4.6K URSA. That way the can use the camera now and would also be given first priority on the new sensors. Yet when the time came they backed out of their promise and released the 4.6k Mini first. Now I understand it is a business and clearly the Mini was the new flag ship camera. With it being so overdue they decided to release it instead of living up to their promise. Understandable but how did they handle it? An appology or at least an explanation to the URSA owners? Nope, they said absolutely nothing at all. They released the Mini and didn't even bother to mention the URSA in their announment email or video. They left the URSA owners in the dark with out any official announcment or explaination. The URSA owners still have no idea when they might be getting theirs but they are clearly at the bottom of priorities now. If someone can come up and offer what BM does I am sure many BM users would happily jump ship, especially if they are respectful and communicate well. Until then BM probably isn't going anywhere.

Are there somebody who wait for Kinefinity Terra 5K real world capabilities more than GH5?

The lut wizard James Millar managed to create this profile, hopefully available to the majority of people soon!

The global shutter option "C700 GS PL" has very clear details, it's just that you missed it. Advertised DR is 14 stops, one stop less than regular C700. Sensitivity on C700 GS seems normal: 4K 60fps or lower/2K crop 120fps or lower: [*200 - 320 - 25600 - *102400] 4K over 60fps/2K crop over 120fps: [*400 - 640 - 25600 - *102400] There might be a slight drop in base sensitivity, similar to F55.

We will never bow to you, J'f'r!

I'm not sure where you're interpreting this from. It can't be done in a weekend for 130€. Not even close It's not unreasonable to ask 1000 CAD for: Single-focus Rack-focus Infinity focus Minimum focus under 1m 2x bokeh Fantastic flares Excellent 15mm rail support / alignment Compact and lightweight Considering the great condition of Tito’s B&H glass, I think he should be asking $1000 USD. It is a turnkey solution. Tito, did you adjust the front by (un)screwing slightly? I was able to get much better results after that calibration. It took a little trial-and-error, but if you have the camera connected to a monitor, you can fine-tune it fairly quickly.

Log footage has compressed colorspace where the information is still intact from what I understand , s-curve is baked in

I made a test comparing iso 400 - 6400 on skin tones if anyone is interested: It looks pretty good up to 1600 and I think, but it's still usable in from 3200 all the way to 6400 in some situations. Might need some noise reduction though...

the PP are implemented after the raw encoding right? That would mean no matter what, the dynamic range of a PP is going clipped before true clog

Interesting... but judging by bloom's comments... sounds to me like the guy has made a flat S curve in the profile builder.... might be nice, but would not be a log profile. Let's see.

Seriously just give it to a cinematographer to SHOOT THINGS WITH IT. For the love of god I've seen some incredible stuff from the Kine 4K after it came out. It's a goddamn camera, show us some footage. I want one of these cameras, but I can't commit to it until I see at least one frame of skin tone!

yep, battery life sucks with IBIS. As far as stills, the AF is great on the GH4 and the Image Quality is fantastic. If you take bad pictures with the GH4 it's your fault, not the camera. Is it perfect? of course not, no camera is.

I bought it at the end of April from Pro Cam in Aurora, IL. Used would actually be a great option if they can prove that it's magenta free.

I just hope they also implement IBiS 5axis (metabones compatible) 120fps 1080p v-log (lut preview) PREORDER RIGHT NOW!!!

I think the are quite different. I have a GX85 and I used to have a 7D and a 700D(T5i). The colours and the look of the Canons is something I like a lot. They tend to look good without having to mess around in the edit suite. The GX85 doesn't have that look but it does have 4k which looks pretty good on a 1080 timeline. The 1080 has 50p which is great for have a bit of flexibility with slomo. The stabiliser is fantastic but the sound is awful. The m4/3 lenses are so lightweight! Canon lenses seem so heavy now! I think you would need a fast lens with the GX85. The Gx85 is also tiny which can be good and bad. I couldn't imagine rigging one up like people do to the Canons!

View the Sony F5 'out of the box' specs at B&H here (and add 4K for free) Paul Ream (Twitter) has spoken about his simple unlocking technique for the F5 to unlock 4K XAVC recording. It doesn't even require a firmware update. Via Philip Bloom on Facebook and Paul Ream on the ExtraShot Podcast Read the full article here

Get your hat ready Jax!

If you'd read my other posts, then you'd have seen that I too have had no issues with BM products either - I have the pocket, it's rock solid & an amazing camera. People who complain about silly things, like battery life or perfectly acceptable screens, just aren't serious enough for my tastes. Finding excuses seems to be rife at the moment, but price vs. image quality and you just can't overlook BM cameras - if you do, you're just missing out on some of the best cameras out there. Talk about shooting yourself in the foot! People have got to stop listening to those with other agendas & actually try using one of these cameras. The Pocket's 45mins battery life is not a problem, simply because if you've ever done any filming, 45mins is a long time & you're never going to be filming continuously (you will stop, move etc.), so how hard is it to change a battery - takes a few seconds & few more if you need to change the SD card too. The more you film with something, the more you're aware of what you need to do - if you've never used a camera, your opinion is irrelevant, pointless & just plain stupid. That comment, about the C300, was just for the people who have been bashing BM cams (& DSLRs, especially Canon) & the next step up for them would be something like the C series - they'd complain about that too, "It's too expensive...blah, blah, blah....."

CANON Oh no sorry, here is the GH5, A7S3 and A7R3. Bye Canon.

GH4 is competing with A7sII and A7rII, in the sense that they are taking market share that might have gone to the GH4. GH4 got a big boost by being the first on the market with 4K. It doesn't matter that it's half the price, it was the only option, so it was adopted for a lot of higher end uses. Panasonic need to convince video users that it's worth staying with the M4/3 system rather than ponying up the extra cash and switching.

Rumors are just that and most people are sure aware of that, but I can't agree with the rest. It actually makes a lot of business sense for Panasonic, plus Panasonic's situation is quite a lot different from Canon and even Sony. Panasonic doesn't have any sort of AF100 successor or anything like Sony or Canon do - FS5, FS7, C100, C300, C500, etc. So they don't have to worry so much about protecting that market and that way they can provide way more things that Canon or Sony would ever do. Despite everything and the lack of effort in innovating, Canon still has a comfortable margin in the market, Sony is growing and is still bigger than Panasonic in market share. So the one that has to take more shots and risks in no other than Panasonic. Oh, and Fuji is sneaking into video market as well and they have nothing to lose, they truly can go all-in. A lot of Micro4/3 users become very tempted by bigger sensors so it's almost like Panasonic already starts in an disadvantage. Providing 4:2:2 internally, which is something Sony won't do anytime soon, is a way to get an edge over Sony, which is their main competitors in this market. Even if it's "just" 8-bit 422, it's something that Sony wouldn't do. Canon did that but with the 500mbps MJPEG that not only has massive files but it still requires transcoding, which makes me wonder what's the point. Panasonic has a lot of different alternatives. 8-bit 422 would still work with H.264 and U3 cards, 10-bit 422 would probably either require faster cards or H.265 HEVC codec. So at least I'm sure Panasonic wouldn't choose MJPEG. If you can get an edge over your competitors without sacrificing much, even more knowing that they might not be able to respond with the same features, this is a pretty good strategy.

I knew I had heard of something like this before: http://www.43rumors.com/the-panasonic-gh5-rumor/ Back in March, this rumor said something very similar to the rumor that was released today: – 6k recording at 30fps and 4K at 60fps – Each 6K frame has 18 Million Pixels. this means you can screen grab 18MP photos from each 6K recorded frame – If the camera records 6K than the Four Thirds sensor will have 20+ Megapixels in “normal still photo mode” But at the same time, a few months later, in June, two new rumors denied that and stated that it would be the same sensor as the GX80: http://www.43rumors.com/ft5-panasonic-gh5-will-have-same-gx80-sensor-but-better-performance/ http://www.43rumors.com/ft5-panasonic-gh5/ The announcement should be soon but rumors and still just rumors. Sure, the proximity to the announcement makes the latest rumor more likely despite being debunked in the past once but it can still be denied again until the actual announcement. As long as at least 8-bit 422 is true it's all good, even better if it's 10-bit 422. I just want 422, IBIS and 1080p 120fps. 4K 60fps, no extra crop, multi aspect sensor and 1.86x crop, 6K Photo, etc. that's all bonus for me.

In the studio test at least, the skin tones have gone to hell on the 5D Mark IV shot in the shadows too. Which is why - for example - exposing for a window behind your actress and then pulling her out of 6 stops of dark shadows is a really really bad idea Anyone interested in designing a REAL world DR test for EOSHD? I can start my own comparison catalogue

Yeah I get your point, like 1440x1080 gets streched to 1920 after import from mini dv tape.

Maybe so, but I do a lot of B2b corporate stuff, which may be half-hour interviews cut to a minute or two, motion graphics, animation, etc. I do a lot of animation (which I use mostly AE for) so there are folders full of image bits and pieces, storyboards. Average final gig folder is anywhere from 60MB to 200MB, and I do need to keep every last little bit, and keep the folder structure preserved. ProRes does keep my overall projects size a good deal larger, but the benefits outweigh that in my case, and it would really take something amazing for me to drop ProRes as my default across the board. I also do some master-planned community stuff, but these are sometimes 10-year to 15-year sales spans over hundreds of acres, and we pick up stuff again and again. So keeping track of things is critical, and I need to get to 'em fast sometimes. So spinning drives and a dock are optimal, with text or excel files for content lists. So I can search a folder full of text files (drive1.txt, drive2.txt and so on - I'm up to drive 18 now I think) to find the file with the disc contents and grab the drive. I don't like the idea of all that archived work being powered-up and live. Since all discs eventually die, I try to keep them sealed in drive boxes and not run them unless needed. if I had a pile of big drives always spinning, that could be 10TB or something... and then I'd need 10TB of constant backup. 4TB is a good size for me right now, a 2x2TB Tbolt2 RAID and a 4TB USB external for backup. I generally have the RAID around half full, but if I get buried in a lot of projects-that-refuse-to-die, I have some headroom. Main thing for me is to try to archive in 500MB or so amounts, which is more time-manageable. When the finder says "Estimated time: 9 hours", that's worrisome - our 'hood was built in the 20's and if there's a thundercloud ten miles away, the power goes out (they've improved that now). Backup batteries only last so long and I have a lot of stuff plugged into the UPS. Again, these sorts of workflows are insanely unique to the freelancer or mega-huge effects shop or first-year DSLR shooter, and every case is probably different. A HUGE driver for me is cost and ROI - I'n in an enviable position of mostly working on fun stuff for good, long-term clients and I don't have to go out and beat the bushes every week - but that means I don't work some days at all. It's interesting to me to read the different solutions people use.

So we're honing in on the over $500, below $1000 range..

So the 1500$ 4K 10bit 4:2:2 camera in a tiny body that can also shoot stills failed the same way as C300 mark II (4K 30p), a 12000$ camera. What a failure.

So Micro Four Thirds has a 4:3 aspect ratio for stills But in the past Panasonic have had multi-aspect sensors Maybe this is another multi-aspect sensor That would explain 20MP stills in 4:3 But in 16:9 or DCI 6K mode it could use a wider area close to 6K wide?

I got my 50D for Raw shooting with anamorphics. And I am very pleased with it. Yes there are problems (CF card related ...) but pictures you get out of it are lovely (thanks raw !) The only concern I have, is that high ISO is rubbish (compared to what I've seen on the web). There is some horizontal banding and noise pattern is horrible. How do you get good low light shots with the 50D ?

Exactly.... some people are just looking through their own small window rather than seeing the big picture. They can stuff it full of video features and slap a $4k price on it... people here will rejoice... yet it will fail. We are still a small niche.

He meant 360° shutter, e.g. shooting 24p at 1/24, hence his comment on motion blur. Got them swapped in his thoughts.

To my eyes the colors coming from the 1DX Mkii look great. I can push the footage more than enough when grading and it holds together. I honestly do not see any reason to give up 60p and DPAF plus spend an extra $2K, for a imagined gain in color gamut, when the 1DX Mkii does not lack in this department. But that said each person has to decide what's important to them. I do know the difference of DPAF and 60p are readily apparent and can help tell the story. Tools that effect the way a story is portrayed trump slight differences in color science. And once that footage is compressed and put on YouTube, Vimeo, Netflix or played back on 99% of TVs any advantage of increased color gamut (if any) will be all but lost. However, 60p will still render as slow-motion, or give less motion blur... and DPAF will still keep your shots in focus. The reduced rolling shutter will also continue to be of value. These seem like more compelling features to me, but then again I'm more concerned with enhancing my ability to tell my story than a spec sheet.

Then you should know how hard it is. With a big sensor and a still lens? Do you have any idea how difficult it is to keep unrehearsed movements in focus, while framing the shot and moving the camera? No offense, but you're full of shit. It's easy as being a "Cameraman"? Yeah, if you're shooting on a documentary camera - but not something like the 1DC, which is what we're talking about. Ever hear of a "focus puller?" There's a reason why there's a specialized job for this task. A focus puller has one of the most important jobs on any film shoot - it's one of the hardest skills. And anybody who actually has experience on a film shoot would know this obvious fact. Either you're talking out of your ass or you're the best focus puller in the world. Or, in your words, just a "cameraman." If you've never heard of a focus puller, it's time to start keeping your mouth shut and start learning.

dwijip, That diopter you're linking looks suspicious to me. A couple things, it doesn't have a brand so there's no way to know what kind of glass it is. It's in a rotating housing, which is incredibly pointless. It makes me think its homemade, and someone popped the a polarizer out of its frame and put this piece of glass in. The other thing is that this guy seems to be saying that even though this lens is a singlet it's just as good as the doublets aka achromat's. In a doublet each of the lenses are coated with different types of chemicals, and when light passes through each of these it has the effect of correcting chromatic aberration because science. So saying a singlet is just as good as a doublet is just not possible. They were each designed the way they are for a reason, doublets for quality, singlets for cost. All that is to say that 70 seems astronomically high. You can get some good Tiffen series IX diopters for like 10-20 each if you're patient. And if you need the threads you can get a holder/converter thing that will put your lens into 77mm threads. Here is a (hugely overpriced) example: http://www.ebay.com/itm/Tiffen-series-9-Diopters-for-SLR-Magic-Anamophot-1-2-3-Diopter-Holder-/161490633136?pt=UK_CamerasPhoto_CameraAccessories_CameraLensesFilters_JN&hash=item25999781b0 At this point it is worth noting that the beginning of this thread has a ton of great suggestions. The other thing I'll mention is that you seem to be saying "I can't afford/find the Tokina +.4, so how about this canon +2?" And also you're asking if these would be good for portraits. Firstly, you don't need any diopters to shoot portraits (unless I'm badly misunderstanding your rig and you have a min focus of like 3 meters, and even then I'd imagine a 135mm taking lens would be close). One convenient thing about anamorphics is that even though they have poor close focusing, their wide frame means you will likely be further back from your subject for almost everything So for that type of shot, assuming min focus is somewhere within a normal range, you wouldn't want a diopter UNLESS...You were using the Tokina to try and clean up some issues in your image. Understand that a big part of the reason for the Tokina's appeal is that, in addition to giving you some close focusing, it's low power allows you to put it on a lens and then, in many common shooting situations, you can use the lens as normal with the benefit of the Tokina's achromatic properties (please, someone yell at me if I'm wrong). There is a convenient symbiosis here because many of the common optical issues with anamorphic lenses and with diopters are the same, and the Tokina, since it's designed to correct dioptric optical problems, conveniently corrects anamorphic issues as well. But, because the primary use of diopters is close focus, and very low power diopters are of limited usefulness to the people who buy most of them (stills photographers for Tokina), there's just not that many options. Now, compare the Canon +2 to the Tokina +.4. The canon will put your infinity focus at a half meter, while the Tokina will put it at 2.5 meters. That's the main difference. So even though the effect that these will have on the quality of your image will be similar, the amount of things that you can do inside their useful range is very different. Meanwhile, if you wanted to shoot a very close shot of your actor's eye, or pull a shot of a text message off a phone so it takes up the whole frame, then you'll need the +2. That's really what it's for. Point is, it seems like you're a little confused about what some of this is for, and it seems likely that you're just getting into anamorphic and read you need diopters so you're getting diopters. My advice would be to borrow/rent a few diopters and try them out. Then, consider what situations you need to cover with them, and then decide what you need to buy. For example someone a few posts back said they got a Leica 55mm achromat. That is a sweet piece of glass. But its only useful because of the size of the rig its going on, so for them its perfect. For a lot of other people, useless. Anyway, good luck.