Andrew Reid

  I don't know what you are suggesting there John! SLR Magic have been working on the 2x prototype for a while, it didn't just pop up within the month.

That shot was cropped from full frame, so I think the corners are a bit beyond what the lens was designed for really. If you want to avoid C/A in the corners, simply use a smaller sensor or a longer focal length with it.   The LA7200 has a lot more C/A than I've seen on the SLR Magic.   What's the signature of the H-K9L glass and does it have a certain colour bias?

This screen is capable of a 1080p > 4K upscale, which is meant to enhance the upscaling.   I haven't tested it yet but the Mac does a similar thing since Retina came along. Very advanced upscaling.   Image quality, whether it is pixelated or soft or not depends more on the quality of the upscaling. Potentially if the upscaling adds detail it can look better than on a native 1080p display.   Thing is whether we like it or not, native 1080p displays are a dying breed on laptops and desktops (if not yet tablets and phones).   The days of viewing our 1080p footage natively full screen with a 1:1 pixel mapping are going to be over pretty quickly.   All the more reason to get a 4K camera to do justice to your 4K display.

They are right about dynamic range being important but actually from the perspective of us, i.e. video shooters on far more democratically priced cameras than the Alexa what you want is that full pixel readout the 4K cameras have (GH4, A7S, etc.). Pixel binning and line skipping on 1080p DSLRs damages the image in all sorts of ways. Dynamic range suffers, so does colour.   So 4K is not just about a resolution gain for us, it is the gateway out of line skipping hell.   Once you appreciate that and get a 4K monitor like the Samsung for $599 I just reviewed you will see how something like the GH4 or A7S has pushed the envelope in all respects for image quality, codec, dynamic range, etc. compared to what we had before from our consumer DSLRs.   And if you want 1080p or 2K out of it just downscale in post. I question whether you need to go to all that effort to soften the lens on set to improve skin, I think it can be done in post with a reduction in micro-contrast and some other techniques as well as a final delivery in 1080p on a non-clinical display technology such as a projector.   The other argument is interesting, does the higher detail of 4K and HFR 48p kill the illusion of cinema. I think it depends on the subject matter. For documentaries where you want hyper realism it's great. For a costume drama or glossy escapism like Dallas I can see why creatively Rodney Charters has concerns about it. He's completely right to have those concerns, as are the actors. 4K and HFR certainly didn't work for me when I watched The Hobbit. Hated it.   But whether creatively it suits your project or not, the fact is 4K is coming fast and is the next standard for us all. Same as 1080p is today. And nobody wants to shoot 480p today do they?   People watching movies on mobile phones and tablets need 4K more than they think. At such close viewing distances you really notice.

  Just light for a narrower dynamic range.

A good discussion in the video there.   But which part do you think is 'compulsory' schooling for us here at EOSHD Matt? :)   Is it the "4K is coming and it will steam roll over you so wake up" part, or is it the tired old part about 2K being "enough".   Both arguments are presented in the clip.

Buy it now - $599 Ultra HD (3840 x 2160) has arrived on your desktop and it is cheap. This screen is like having a 28" Retina display. For filmmakers and photographers has the time come to finally go 4K? Read the full article here

Pixel size is still important, it's just that there are things other than just megapixel count and sensor size that influence pixel size   Also the readout is important because noise can be introduced to the signal coming off the sensor by the electronics.

  So you are happy to leave it there are you... the EOSHD review of the 7D Mk II.... "Good for AF on Canon lenses... in stills mode".   Let's remain on the topic of video please.

From my perspective here Ebrahim, I'm trying to make a forum for people to learn. If you keep stating your myths like you are some kind of Wikipedia of cameras then it makes my life much more difficult.   APS-C is behind the competition if your competitor offers full frame with better images for the same price. The photographic 35mm standard has always been full frame not APS-C. APS-C is a cut price consumer version of the photographic standard and to make best use of your lenses you need full frame.   Resolution is not identical. D7100 is 24MP and with no OLPF, and 70D is 20MP. Dynamic range, well the 70D shadows get noisy very quickly and video is rubbish too. What does DXOMark have to do with it in that case?   And dual-pixel AF is still way slower than contrast based AF in live-view on other cameras notably the GH4.

  That's incorrect. The gaps between pixels vary. Thus one manufacturing technique or technology does not make the same pixel size as another.   For example on the Blackmagic Production Camera with an 8MP APS-C sized sensor, the pixels are tiny due to large amounts of space on the front-side surface of the chip taken up by global shutter wiring.   And subsequent refining of 24MP APS-C sensors from Sony, et al have produced larger pixels by reducing the gap between pixels and improving the design of the micro lenses which channel light into each pixel.

  Really??   In the same price range...   It is APS-C vs full frame (A7) It is worse in low light than quite a few other cameras, notably the D5300 It is lower resolution, 20MP vs 24MP It has a 2 stop dynamic range shortfall from D5300 and Sony's APS-C sensors   Then the drawbacks vs mirrorless are numerous...   It is lacking an EVF It lacks the more 'classic' ergonomics of the Fuji X-T1 for stills You can't adapt as many classic lenses to it It is bigger and heavier   When you obscure the facts you sound like a Canon fanboy and it's not good for the forum as a knowledge base so I am saying from now on refrain from posts like the above.

At Photokina (Photokino for video users!) I briefly played with the Nikon D750. With the camera tethered to a sales rep stand and so much else for filmmakers at the show like the Sony A7S, Panasonic GH4, Samsung NX1, Blackmagic and Red, I didn't really have much time for the Canon or Nikon areas, but I did form some first impressions of using the new camera. Read the full article here

  Given the sensor size and megapixel count are not exactly like the A7S, the ISO 3200 sample is ok and on par with a Red Epic.   The noise reduction setting in-camera is crazy high which makes it hard to judge sharpness from these hastily shot JPEGs before they glued the card door up to stop exactly the kind of post you just made slamming the camera based on a bad test!!   The guy who shot these didn't even get the model's head in focus and you are claiming her hair looks soft... no wonder.

  Old scope was 2.35:1, then there was 2.39:1 and now Red seem to say 2.4:1.   Confusing isn't it!

  Nice theory, unfortunately you're wrong and you really need to do some research. Anamorphic was designed to avoid cropping to achieve the wider aspect ratio.

  You have to be a Vimeo Plus member apparently, and lick the beards of several hipsters.   I'll upload a 4K version to YouTube.

I don't choose my tools based on Amazon popularity funnily enough.   By the way I tried the D750 at Photokina. Video seems ok for 1080p, but still not A7S level.   I tried the D810 and asked the Nikon person if video was better than D800. She said it was worse. I have it on tape, so make of that what you will. She reacted aggressively when I suggested she had the wrong info, and was adamant it was worse!! Suicidal or what?

High end mirrorless cameras like A7 or low end like Nikon 1?   That's an important distinction Danyyyel.

 

Before commenting, please download the 4K file at Vimeo.

For those who find video very lacking on small cameras especially the Fuji X100S and X100T, Panasonic now have a high end retro-styled compact with 4K video. The sensor and EVF come from the GX7, which in turn is quite close to the GH4 in performance terms. We are talking a gigantic sensor here for a compact, larger even than the 1" sensor of the Sony RX100 M3. As well as a large sensor, the camera packs a large aperture Leica 24-75mm which opens to an impressive F1.7 at the wide end. This adds a premium zoom lens to your small-camera-large-sensor arsenal whereas the X100T only has a fixed focal length prime. Read the full article here

4K Photo Mode shoots good video, but improvements will come in the future I believe

What informs the film look? Of all the technical aspects that do, I think it comes down to three key ingredients. 24p, a wide dynamic range and a 2x anamorphic lens. I and many other filmmakers chase that look. Well, I've just returned from Photokina in Cologne, Germany with a surprise. 2 years on from my first visit to SLR Magic at Photokina in 2012, they are back with a 2x anamorphic lens in 2014. This lens has the potential to revolutionise the consumer market for cinema-standard anamorphic. Read the full article here

Almost all new releases go to the top the moment they are put on sale.   Let's see how it is doing in a year.   That chart by the way is only DSLRs, no mirrorless in the mix like the A7 series, what DSLR were you expecting to see up there with the Canon and Nikons? A Pentax!?