Andrew Reid

  Thank you. The video that is subject of this article was 50% shot in raw on the Pocket camera. The quality is good, can hardly tell it apart from 2.5K raw on the BMCC.

I have a comparison video coming up between the standard M43 Speed Booster and BMPCC Speed Booster which should help answer your question.

Sorry this is junk. Thread locked.

  You will need to go to a 35mm lens.

  No there isn't one yet. And you can't adapt EF lenses to a Nikon mount adapter, or Canon FD, Leica R, etc. Also EF lenses need electronic control of aperture, sometimes even focus.   To the person who asked about IS above - yes Metabones EF adapter for E-mount is active and lets you use IS. But there's no Micro Four Thirds version just yet.

  Yes of course it will. It's designed for the 1.50x crop of APS-C photographic sensors (i.e. Nikon D5300, Canon 7D, etc.)

  Leica M glass has a short back focus distance to the sensor and doesn't leave enough room for the Speed Booster optics. It would likely be impossible I'm afraid!

  When I reviewed the D5200 it was indeed the best camera for the money in terms of low light performance.   Not any more. The Pocket Cinema Camera with Nikon mount BMPCC Speed Booster is.   A lot has changed since last year.   D5300 is a known quantity. It's a D5200. With 1080/60p.   Same image. Same features.   I already tried one out earlier in the thread and closely compared the codec and image with the D5200 and convinced it's the same. What more do you want?   It just doesn't excite me. There's now a big gulf in image quality between cameras like this and cameras like the BMCC / Pocket with ProRes or 5D Mark III with raw.   The D5300 isn't even that hot as a video all-rounder. The GH3 and G6 have better features.   That's my opinion. You can take it or leave it. D5300 might make sense for some of you. I can accept that. You are all welcome to talk about the D5300 here, analyse it, that's what the forum is for.   But please no more dragging the thread off track by lambasting me for having a different opinion or different focus on the blog. I shouldn't have to take crap from people for not validating your potential purchase and not singing the praises of Nikon when actually they're not really offering anything significantly new. When they have something genuinely a leap forward from their old model I will buy one and use it, then there will be an article.

Today Metabones release two new Speed Boosters for Blackmagic shooters. I've been using some demo samples for this special review and I'm absolutely stunned. Metabones and Caldwell Optics have given us a Zeiss / Kubrick / NASA special! These adapters are completely new and purpose designed to fit only the Blackmagic cameras. Offering super bright apertures as fast as F0.74 and finally some great wide angle possibilities, I put both new adapters through their paces... Read the full article here

Just buy one from Amazon, return if it you don't like it. I am sure you will love it, judging by this thread so far.

  Wrong I'm afraid. 5D Mark III, D5200, D5300 are moire / aliasing free in all real world situations, unless you're talking about charts and then every camera has it even the Epic.   It's easy to avoid. GH2 does it for very little money on a sensor only slightly smaller than Canon APS-C (1.86x crop vs 1.6x crop).   A pixel mix on the sensor is all that's needed.

So just because I think the D5300 isn't much different to the last model, I don't share your cinematic aesthetic...   Bizarro.   So you want a clean, detailed image (although to be honest not that detailed) and good at high ISO… D5200 is a great buy. If you also need 60p, get the D5300. I honestly cannot see anything more in this guys...   If you want me to validate your purchase by wasting my time on reviewing a cynical yearly update from Nikon barely any different to the last model, you'll be waiting a long time!

I still haven't seen a single good test or side by side with the D5200, so until then I remain convinced it's virtually the same!

  Really nice job dude, and the one before it.   Any chance you can tell us more about how these were graded?

Said it before and I'll say it again, if any of those criticising EOSHD for not lavishing attention on a small incremental update from Nikon can PROVE that the D5300 is a significant step up from the D5200 in terms of the image quality in video mode, I will take a closer look at it. Until then, it's just a tweaked D5200.

70D is not the same sensor. It's a new one.   Michael has done a good review there though - I share is frustration with the video side 100%!

  It's the very essence of Berlin.

Indeed, bloody Europeans. Vote UKIP!! :)   You'll need an external recorder to break the 29 minutes limit. So it is possible. But an hour of ProRes isn't exactly small in terms of file sizes relative to a camcorder.   Also I don't think the AF is quite quick enough to replace a camcorder.   But when you need the zoom, the range, the built in ND, it definitely has a purpose!

  The 25p MP4 option isn't 24Mbit, it's just 12Mbit. Not much difference in quality to the AVCHD though.   No tele crop like GH2.

Is it an old silver Sonnar like this? http://www.ebay.com/itm/CARL-ZEISS-CONTAREX-85MM-f-2-SONNAR-WITH-CAP-/111223304302   Looks nice.

Which Zeiss Sonnar 85 are you trying it on exactly? Old exacta or newer CY or even newer ZE / ZF? F2.8 or F2.0? And which aperture was the sample shot at?

  Yes aware of the Slashcam test, and they are in Berlin, good guys. Active SteadyShot gives you the crop. I turned this off and just shot with SteadyShot (optical, no crop).

  Dude, please give it a break about the D5300. It's a known quantity. It's a D5200 image, with 60p. That's it! Is there any proof the bit rate has gone up and the banding has gone? If so, show it! Is the image any different to the D5200? I just don't think it is. It's a boring evolutionary update of an OK camera, what doesn't stand out.   The Nikon is outclassed on image quality by the Blackmagic Pocket Cinema Camera, 5D Mark III, 7D with raw and anti-aliasing filter, RX10 and various others. The G6 and GH3 are Speed Booster capable unlike the Nikon and resolve more detail, and offer more video features.   If it is purely the low light you want, you can get it with the D5200.   God… I know this thread will go off topic now. Don't expect it to stay off topic long if it is a D5300 advert.

Super 8 and Super 16 movie cameras took a free-roaming Henri-Cartier Bresson style to documentary filmmaking and "run & gun" for the first time (as early as the 1960's). Cadid footage of JFK on the election trail. French New Wave cinema in the 80's. The run & gun simplicity of Bolex Super 16mm cameras is timeless. The Sony RX10 on paper is perfectly equipped to be a cinematic run & gun camera. The lens for example: a stunning Zeiss 8.5-73mm F2.8 (constant aperture) zoom, would be worth $10,000 on a 16mm cine camera. But does the camera as a whole deliver a cinematic image? Read the full article here

Have you noticed how much better A7R looks with a close-up shot, to the shot at the start with the whole scene in it?     It seems lack of resolving power, moire and aliasing don't matter as much with close-ups.   It isn't the camera to pick for a vista though.