Andrew Reid

  No doesn't seem to but only early days in my test.

  Sure, Blackmagic Pocket Camera will be in the next RX10 comparison video.

Download the original file at Vimeo Note: This is an early-days test I did quickly before a shoot today. A larger one encompassing more cameras (GH3, D5200, 5D Mark III, Blackmagic Pocket Camera) and scenes will be on EOSHD during the coming week. The Sony RX10 appears to play in the same ballpark as the Sony FS100. Is this the new budget king for semi-pro videographers? Read the full article here

  This makes me extremely scared to keep using it :)

  Oh dear. Yeah very much overpriced. Just hope they read up on it first and know what to expect.

A camera like the RX10 in full frame 35mm format would be a physical impossibility. There's simply no way currently to commercialise a 24-200mm F2.8 constant aperture full frame lens. If there was a way to design one it wouldn't be RX10 sized or have a built in ND.   This camera only works because of the 1" sensor.

  Yes you focus on the prime. Can even do AF through it. When you go close, you toggle the ring from normal to near on the anamorphic. It also has a fine tuning adjustment in-between with a short travel.

  Almost to 12mm. If you crop slightly you can get it working with SLR Magic 12mm T1.6.   I haven't tried it yet but might be interesting to see what it looks like on the 14mm F2.5.   I also have a Cinegon 16mm F1.4 c-mount lens that should be a good match because of the small elements.

More than any camera that came before it even from Sony themselves, the A7R marks the end of the DSLR era and a transition to a future. Next to this camera the Canon 5D Mark III looks, feels and performs like the dinosaur it is. However it's the Sony RX10 that is arguably the most capable from a video perspective. Read the full article here

  I used the Canon 35mm F2.0 with IS for the shoot (FS100). This is also a good prime to use with it, really nice feel to it.

View 10 frames from a rehearsal shoot with Bunny Suit, a Berlin based band I'm currently working with on a music video Disclosure: I have worked closely with SLR Magic in refining the flare and have a close relationship with SLR Magic, but I am approaching the lens objectively in my articles. It's here! The finished lens. Read the full article here

  I agree with you about Cinema EOS being a success story.   But it's very much a separate thing to Blackmagic and DSLRs.   Canon's consumer end of things is a mess. Not creative.   I have sitting side by side the Sony A7R and 5D Mark III... Honestly, the Canon just looks and feels like a thing of the past. Sad to say it but if it wasn't for Magic Lantern the 5D would have bit the bullet today. As a stills camera, just about the only thing it does that the A7R doesn't do as well is AF. On every single other metric the A7R outclasses it.   GoPro isn't really a niche thing... That is a massive market. Multi-billion dollar stuff. And indeed Canon are nowhere in it. Sony tried entering it but didn't really come up with the goods.   The story of the next few months is going to be a big one - the first proper 4K product releases and a lot of these are in our right on our street of interest at EOSHD, it will revitalise the DSLR video scene.   Let's just say Canon doesn't have an answer yet.   Their mirrorless is poor. Sold even poorer, until massive price reductions shifted some stock. They have no video orientated consumer DSLR style camera like Sony (RX10) or Panasonic. They are outclassed on the sensor side by Sony, who have 36MP and 14 stops dynamic range to 22MP maximum and 11 stops dynamic range from Canon, who used to lead on CMOS.   I'd love to be more positive about Canon but you can't deny the facts and the fact is they have stalled.

Looks like Vitaliy Kiselev has added EOSHD to another spam revenge list again.

What about the Sony RX10? Wouldn't it do the job? Built in ND filter, 24-200mm F2.8 lens, largish sensor, peaking, crisper detail in 1080p compared to D5300 and 1080/60p for slow-mo.

  Indeed helps to take the variables out of it and the nut behind the camera is a very big variable.   There's nothing sadder than seeing a talent being hamstrung by shoddy image quality.   On the other hand there's nothing wrong with choosing something which you're comfortable with and works well for you and arguably that's just as important as the image. If the 60D is working for you but the Blackmagic might cripple you because of the different design, then why change?   Gear choice is a personal thing and I don't begrudge anyone for choosing what they choose as long as they aren't restricting themselves unnecessarily through a lack of consideration of the options!   What I'd hopefully like to avoid in this thread is the blindingly obvious statements about talent mattering more than specs (even though they are BOTH important). There's no need to state the obvious over and over again like some are doing. It comes across as patronising and nobody gains anything from it in terms of new knowledge or inspiration.

  It was pretty cutting edge digital at the time. The DP for Danny Boyle on that film was very much into the early digital technology... A true trailblazer.

  If that's their mistake then let them make it. It's a pretty stupid one, to be oblivious of the obvious. Almost as stupid as discussing is.

Looks like he's just played a round of golf :)

The problem with threads like these ain't because I disagree with them, it's because it's just about stating the obvious.   Keep posting nice work and some bad examples as well and we'll learn from them.   But let's leave off the gear angle of the discussion because it's just ridiculous IMO

The video in the OP is lovely looking. But they went to a lot of effort with the locations, crew, rigging, camera movement, light, makeup, costumes, props, organisation, logistics, ideas, direction, cinematography, distribution...   Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.   I must say they played to the strengths of the camera very well and avoided any nastiness and the low-fi grade does help but imagine the extra impact those frankly amazing visuals would have had with a better camera.

How to use raw...   Press record.   Swap card when full.   Record audio separately.   Edit in Resolve.   Sync with the audio.   It ain't that hard… alas devil is in the details… and that is why I wrote the book.

So agencies are standardising around just two cameras? Man… I'm glad I'm not working for them :)

Surely you make your living off your skill as a filmmaker not the camera itself, or do you mean from point of view of a small rental shop?

  ...Yet     Please no NEX VGxx form factor ever again!! See what you mean though. Sensors and 4K are a Sony speciality.

  1. They are working on the monitoring performance. I think they can do it.   2. Mono jack - use it for sync and capture main audio on an external recorder like the excellent Roland R26. Use Plural Eyes to sync in post. Complexity of doing this is overblown, it ain't hard!   3. No E-mount or MFT mount yet but maybe it's possible.   Enjoy the camera! Get in touch with the dealer and Kinefinity themselves. They will be keen to have your input.