Andrew Reid

  I think the update does maybe show the virtue of Adobe's team pulling together to focus on CC, or at least a big push on to establish Cloud.   Let's hope After Effects gets a similar update for better Cinema DNG support, as at the moment I have to delete the WAV file (from Blackmagic) and other metadata files (LUTs on KineRAW MINI for example).

Above: the Canon 5D Mark III with Magic Lantern raw video recording. Check out the EOSHD book here Due to demand Adobe are finally putting Cinema DNG support back into Premiere. What's more it is a fully featured implementation with realtime playback like Resolve and GPU accelerated debayering. Adobe's existing debayer of Cinema DNG gives the best image quality out there so I have high hopes for Premiere come October. [url=http://www.eoshd.com/content/11112/cinema-dng-support-coming-to-adobe-premiere-cc-in-october]Read the full article here[/url]

It looks like Canon's image pipeline has improved with the 70D to get more detail out of the raw feed from the sensor. It's sad though that their new sensor line skips, the moire is very bad on it.   The BMPC footage needs more grading work than was on display here. Blunty should have applied a LUT or put it through Resolve.

  They grade differently.   That is to say - The raw image data responds differently to controls in Resolve or ACR, etc.   You have to match by eye and it is time consuming, for each shot. No ACES compatibility for Canon yet.   You have to be very careful to match them. I wouldn't be tempted to mix raw cameras on a shoot really, it's a pain.   With a compressed codec the cameras are all pretty much matched to Rec.709 and off you go.

KineRAW MINI now has 1080/60p and 2K at 48p in firmware update.

I already tested the MINI's sensor in the larger S35 model and there were no white blobs or black spots, as far as I could see. Need more time with the camera to dig deeper, that time will come in 1-2 weeks.

Slashcam in Berlin have tested the camera. They suggest the debayer isn't as good for ProRes on the Pocket as it is on the BMCC and it affects the colour science.   Either way can't see this camera getting much use from me vs the 5D Mark III raw. It doesn't stand up to it.   The shipping delays and imaging flaws are really quite baffling, and I think Blackmagic need to take a long hard look in the mirror.

All credit to those who made it, that it isn't for me doesn't take away from the achievement. Just think heavy shoulder mounted small chip cameras are the past and small large sensor cameras are the future.   The SI head they are using can do a nice image. Danny Boyle used it on Slumdog I believe.

Hmm. So dated compared to what is already available for much less money.   Don't like the size and weight.   Don't like the 2/3" sensor with 11 stops.   Don't like the idea of a Mac Mini in the back. They're not designed to be portable machines. They will break.   Don't see the image quality advantages over a 5D Mark III with raw, KineRAW MINI or BMCC.   KineRAW MINI is miles better ergonomically.

  I'm interested to test the BMCC MFT at IFA. Let's meet for a chat next week.

Hope I am this fast when something actually interesting happens!

SLR Magic are working on a 1.33x anamorphic adapter. Hong Kong based shooter Edwin Lee has tried it out. The lens is 'compact' and attaches to the front of your prime. SLR Magic say it works best currently with their 35mm F1.4 on Micro Four Thirds and the Canon EF 50mm F1.4 on full frame. [url=http://www.eoshd.com/content/11105/new-slr-magic-prototype-anamorphic-lens-footage-surfaces]Read the full article here[/url]

Sony have some new cameras. The NEX 5T and A3000. The NEX 5T changes absolutely nothing over the 5R aside from adding NFC (near field communication), something Sony felt so important (communication with smartphones) that they rushed out a new model for it. The A3000 has the form factor of a Canon 100D DSLR, or rather the Panasonic G6, it being a mirrorless E-mount camera. Both feature 1080p video modes with 60p and 24p. Along with the new bodies Sony have announced some new lenses for E-mount including the 18-105mm F4 and Zeiss 16-70mm F4. [url=http://www.eoshd.com/content/11091/sony-release-old-camera-with-new-badge-nex-5t-and-entry-level-a3000]Read the full article here[/url]

  About equal. Multiply by 2!

Yes but seems a bit worse with Speed Booster. Nothing you can't fix though.

I don't know. I think I will stick to my GH3 for my Micro Four Thirds glass.   And at £1500 the BMCC mFT is an option.   I can't risk having shots ruined by big white invaders from outer space.

  Yeah, disgusting isn't it.

The blackspotomatic.   The black holes are fixable in post, you just have to turn them white with the tracker in Resolve. It is hard if you're not familiar with the software though.   The white orbs however are a major problem.   These are a hardware issue with the sensor. Fuji X10 suffered from it and Fuji's firmware update was unable to remedy it. They had to modify the sensor at the hardware level to fix it.

CY doesn't go on Nikon, only Canon.

  F2.8 is F2.8 in terms of light gathering, and I never said any different.   I am making the point that a full frame sensor is less noisy at high ISOs than the average Micro Four Thirds chip.

BMCC becomes a 1.63x crop. Canon APS-C is 1.6x crop.

No dropped frames, but was only a 1 hour test because Cinema5D made an 'exclusive pact' with the reseller to get the full review, something I am not at all pleased with.   Kinefinity need as much exposure as possible.

[media]http://vimeo.com/72612659[/media] Buy the full range of mFT and E-mount Metabones Speed Booster adapters here There's more from EOSHD on the Speed Booster for Micro Four Thirds here, and for E-mount here The Speed Booster has come to Micro Four Thirds where it turns the smaller sensor into a Super 35mm / APS-C equivalent - the cinema standard. I have been testing the Leica R, Nikon G and Contax Yashica Speed Boosters for Micro Four Thirds for a while now. Here's the verdict! [url=http://www.eoshd.com/content/11041/metabones-speed-booster-for-micro-four-thirds-review]Read the full article here[/url]

  You know the price of the NEX 9? Link please!?     Look at Canon 24-70mm F4... Smaller than the F2.8 version. Look at size of F2.0 200mm lens compared to F4 also. Wide aperture lenses are always bigger, all else equal.

  Tried it at Photokina. Was rubbish. Form factor is a joke for stills. Video quality was a joke for video shooting :)