Andrew Reid

The BMCC doesn't have a Super 35mm sensor, isn't very good in low light, the form factor isn't as good, it won't get 4K via an external recorder, can't do off-line CineForm, doesn't have built in LUTs, doesn't have a side-grip add-on, has issues with rolling noise, doesn't do 100fps 720P so I don't see it as a clear winner despite the lower price.

[media]http://vimeo.com/72605257[/media] Magic Lantern's raw recording module for the 7D is a perfect illustration of why colour depth and dynamic range are more important than resolution. It's also a huge step up for Canon APS-C video shooters and free. [url=http://www.eoshd.com/content/11017/raw-video-on-the-canon-7d-super-35mm-raw-for-under-1000]Read the full article here[/url]

Some seriously wonky maths going on. I can't factor in conversion rates, can only speak for Europe where the camera is currently shipping, for a set price.     Aside from the high performance media which you don't have to buy (you can use generic SSDs) how in any way is the following over priced compared to competing raw cameras?   Bodies:   5D Mark III = 2700 euro KineRAW MINI = 3199 euro   Basic components for 5D = 4x 64GB CF cards = 500 euro 4x spare genuine batteries = 300 euro 1x monitor = 500 euro Cage and top handle = 500 euro   Total inc. body = 4500 euro   Basic components for KineRAW = 2x 120GB SSDs = 150 euro 1x Switronix PB70 = 250 euro 1x monitor = 500 euro Top handle = 100 euro   Total inc. body = 4199 euro   Other raw shooting bodies...   Scarlet = 15,000 euros (kitted up) FS700 + recorder = 11,000 euros F5 + recorder = 16,000 euros Epic = 25,000 euros Alexa = 70,000 euros   OK it is not suitable for someone to whom $600 for a GH2 is a lot of money I admit that. But c'mon. Enough with the moaning.

Sometimes emails can get lost or go into spam folders. I've emailed you with a new link. Cheers

£8200? On what planet?

Better? Or just different.   Super 8, Super 16, S35 and even IMAX have existing alongside each other for decades. No filmmaker considers one 'better' than the other, just a different brush to paint with.   With cameras, of course there are ones that do the same thing better than another, but I don't automatically consider a camera like Digital Bolex 'DOA' just because it has a small sensor!

No hack or uncompressed raw camera is suitable for live event shooting. You'd be nuts to shoot hours and hours of footage per day on a BMCC because of the storage requirements, and the possible time I'd take to convert or grade it.   On the issue of reliability, over at BMCC User a guy says he had his SSD fail after smashing up a car in the most vital scene in his movie, lost all the footage and may have to do an expensive reshoot.   Makes a GH2 freezing seem insignificant doesn't it?

It's good a price bubble hasn't formed.   Look at the Iscorama.   Canon ship DSLRs in their millions. It'd have to be a very BIG niche to have an affect on eBay prices of DSLRs wouldn't it!?   Magic Lantern and raw video are bigger than you think and more important than you assume in the greater scheme of things, but they are not going to affect the price of cameras.

Most people are shooting raw on the 5D Mark III, it's far superior, but that doesn't mean to say 50D owners should sell up. I mean look at what you're getting for the money - an insane amount.

  Will ask the German distributor, I think they ship Europe-wide. No extra VAT or duty within EU, so you don't need to wait until CVP stock one.

The most unimportant thing you need to be aware of as a filmmaker is how small the niche for your camera is, or whatever. Why does it matter?

[media]http://vimeo.com/72646025[/media] Thanks to Michel and Ludwig at HD Videoshop in Berlin for the test unit. Essential primer details on the MINI are here. The KineRAW Mini is a very cool option in the emerging raw market. With an almost identical range of features and the same 4K Super 35mm CMOS sensor found in the larger, more expensive KineRAW S35, this baby version has a form factor I absolutely love. It is not just small but light as well - very suited to the kind of art-film-on-location shoots I love. EOSHD takes a brief hands-on look at what the camera offers. [url=http://www.eoshd.com/content/11019/why-kineraw-mini-could-be-your-next-camera]Read the full article here[/url]

[media]http://vimeo.com/71582077[/media] Perspective Aerials have released (in small quantities) a new $4500 rig which promises to replicate the performance of MoVI for much less than FreeFly System's $15,000 asking price. [url=http://www.eoshd.com/content/11026/perspective-aerials-match-movi-performance-at-13rd-of-price]Read the full article here[/url]

  Yeah the top of the grip doesn't line-up.   Anything, damn thing will be useless without 24p and a better codec. I hope they have seen sense and sorted that out along with the moire and aliasing, then it will be a great tool for handheld stuff.

The design of the E-M1 is hideous. What on earth is going on at Olympus?   Grip looks like it is glued onto an existing EM-5 shell they found in the lab. Rear d-pad looks so cheap too!

Nice to see Alexa in same shoot as 5D Mark III raw. Promoting to blog post.

I put a lot of time into reading this forum daily.   If I am reading the same crap from peederj again and again, it reduces the enjoyment I have in running a blog like EOSHD.   I've tolerated it for months, provocative and annoying comments.   High quality posts from now on will be promoted and low quality posts will only be tolerated a few times before the members gets their posting permissions removed.   That starts now with a 7 day holiday for peederj.

5D Mark II with Mosaic Engineering VAF filter is the better option if you can't afford 5D Mark III.   The D800 has one too - http://www.mosaicengineering.com/products/vaf/d800.html

  Peederj, you are so out of step with what the EOSHD community is about. It's trolling, pure and simple.   You shoot with a C100, yet you'd tell a beginner to go off with a piece of shit like an iPhone and shoot. It strikes me as rather condescending.   Why are you here?   Resolve, raw, lenses, large sensors are all critical learning tools for any cinematographer, and most filmmakers. There are filmmakers who don't care about the camera, and that's why they need a good DP because left to their own devices everything would look like crap and have no mood.

  Ah the Pro Video Man On A Job speaks.   Zzzz. Heard it all before.   Suffering from 'gear acquisition syndrome' has nothing to do with lacking talent and finding solace in the acquisition of gear. There's nothing wrong with being a gear-head, in fact it is better that one takes a keen interest in the tools than a passing glance at the rental shop. Kubrick got his hands dirty. Gear can separate you from the crowd, which is why he used the F0.7 lenses supplied by Zeiss. It was a creative choice, which enabled him to shoot in such low natural light, nobody else had done the same. He experimented with different technology a great deal, like we're doing on this forum... Well... Most of us.   It DOES matter if you are poor. Renting won't help you if you are poor. No point renting an expensive piece of shit and equally no point renting a cheap piece of shit when you may as well spend the same and buy the damned thing.   It does matter if you have no talent. No amount of practice and development will help.

For editing raw directly, you need an Nvidia chipset for Resolve. I recommend GTX 560 Ti minimum. 1GB+   If converting to ProRes or CineForm you don't need a fancy graphics card at all.

Dual ISO isn't in the book because the quality isn't yet good enough for video. It is useful for stills but not video.   They took WAV audio out due to the sync issues. It will be back at some point I expect.   File spanning is already mentioned in the book. MLV as far as I know isn't yet implemented? Still a work in progress.   There's a few minor updates coming to the book. Existing customers will get the V1.1 emailed to them.

  You could well be right. We'll know soon enough as I might see it before IBC at IFA in Berlin on 4th September.

I tried that as well on my 7D, but forgot to try it on the 5D Mark III where some say it covers full frame at 35mm despite being a APS-C lens.   It seemed great on 7D, took a few shots with it, will try and get more time with one.   I'm in a dilemma over which one to get. If it wasn't for me using full frame so much, 18-35mm on GH3 with Speed Booster would be a no brainer.

Not enough time with the focus ring yet but seemed fine. It has no hard stops though.   Can't compare the new Leica M glass as they don't go on a Canon mount!