Andrew Reid

I'll create a mirror at Copy. Uploading...

Big Lebowski is too fringe and Alien is too adult :)

Download from Dropbox John Brawley has released a few ungraded ProRes files from his card, shot with the Pocket Cinema Camera and SLR Magic 35mm F1.4. [url=http://www.eoshd.com/content/10971/first-prores-files-from-the-blackmagic-pocket-cinema-camera-released]Read the full article here[/url]

If you grade raw, project raw and view it on a big screen alongside the same graded H.264 mush, you won't be having any doubts about what a leap it is in image quality.   It's not fully conveyed from watching compressed streaming video on the internet.   Even the Dragon test footage looks normalised on Vimeo.   Get a camera and shoot something :)

George Clooney is a canny fox. The director and actor has launched a tirade at the hedge fund manager Daniel Loeb, who has taken a 7% stake in Sony and is encouraging the company to spin off a stake of its movie division as a separate company. He says it is becoming more and more difficult to get films like Argo green-lit, echoing the concerns of other top talent in Hollywood. [url=http://www.eoshd.com/content/10952/george-clooney-lashes-out-at-sony-pictures-carpetbagger-daniel-loeb]Read the full article here[/url]

  Erm raw video? They already have.

Just arm yourself with the facts and knowledge, then choose the camera that suits best what you want to do with it.   The C100 is in a totally different price bracket to a DSLR.   I'd rather invest the difference in lenses.   The brickbats are becoming tiresome.

Stick to 2x 64GB cards for now. The new 128GB ones are giving mixed reports and there's rumours of 1200x cards on the horizon.

  Pretty well close to 7D but more expensive and full frame users may as well choose the 5D Mark III.   Check out this chart for full overview on capabilities   http://www.magiclantern.fm/forum/index.php?topic=6215.0

  You can be creative on a paying job as well, but yeah - the creative filmmaking community for too long has been held hostage by the pro video community and their needs always get taken more seriously, because they make the most money.   EOSHD seeks to associate itself more with the creative producers on a shoe-string budget than with the pro video community and their industry tools.   I suggest both sides stop viewing each other with distain, realise their differences, and stops trying to ram one's own needs down each others throats, C100-luvva man especially.

[media]http://vimeo.com/71649487[/media] Test footage by Florian The Canon 7D is shaping up nicely for raw video, with image quality that makes a pretty grave for H.264. [url=http://www.eoshd.com/content/10947/canon-7d-raw-with-magic-lantern-1st-sample-footage-in-the-wild]Read the full article here[/url]

How much footage do you plan to shoot? Raw is 12 minutes per 64GB card, so you will need to be apt at dealing with the data and have time for the workflow.   However the cameras that do raw in your price range all have moire (50D, 7D, Blackmagic).   If you already have a 7D, raw is worth experimenting with. Big leap in image quality over the factory settings, and the moire is much less severe, but if you need no moire at all then the GH2 or G6 are the best options and significantly cheaper than other cameras.   The GH3 has hardly any moire but still slightly more than the GH2 and G6. The sensor downsampling creates moire but the use a low pass filter on the output to minimise it. It has less aliasing than the GH2 and G6.   What lenses do you plan to use?

Likely not faster as they are the older DIGIC 4 chips from 2009, but the write speeds are similar (91MB/s and up) so good for continuous raw shooting later.   Still only at silent pics burst mode stage.   Moire like 50D but easily reducible in post or with VAF, it only affects the very highest frequencies.   Not better than 5D Mark III but definitely heading for second place!

Too much trolling in this thread.   You have one guy who mentions his C100 love relationship in EVERY POST on this forum.   You have another saying ridiculous libellous things about BMD going out of business.   If you can't improve the quality of contributions, then I will relieve you of posting duties and raise the average post quality two full notches for the rest of us.

  Solid reasoning, after all I can't think of any other camera that does uncompressed 1080p raw to 95Mb/s cards with no fan.   http://vimeo.com/66033769

Let's see if all the happy sounding punters come back in 12 months on the forum when they still don't have a camera. Then we will see how they really feel.

  Hmm. You forgot to add staff wages, marketing, taxes, a cut for the dealer, shipping costs, firmware development, R&D, fluctuations in raw material prices and the low shipping volumes.   I think they are doing another bait and switch.   mFT BMCC was one of those. QUICK put a passive mFT mount on it! Too many people on our BMCC EF waiting list!   Like with the mFT version it could be some time before 10,000 people get to own a $1995 BMCC.   A Blackmagic rep recently hinted at 20,000 Pocket camera orders.   Good luck filling those at 100 a month!

  That's not what I'm picking up on. Good for the industry is another subject. You said people wouldn't be annoyed if Canon dropped their Cinema EOS prices.   Why is it these days people are incapable of arguing on the point without throwing in loads of straw men?   We need a straw man bonfire!

The Nikon Speed Booster will take the 50mm F1.8. It takes all Nikon glass not just G. They all have a standard Nikon F mount, the old AI/S glass as well. The difference is with the G lenses that the aperture needs to be controlled by a ring on the adapter or via the camera body. The Nikon Speed Booster has the ring on the adapter. It has no electronic contacts.

  It isn't the same.   The situation is that people have waited almost a year for their orders to be delivered, and just after they ARE finally delivered they knock $1000 off the price and they come into regular stock to pick up off the shelves. If you can't appreciate how frustrating that is for some people, then you're a lost cause.

  Very interesting, thanks for pointing this out.   This might be how they get less aliasing on the GH3's sensor compared to the older GH2 / G6 one.   But the low-pass filter needs to be stronger as they now have more moire.   The other possibility is that the new sensor is actually NEW and in the GX7 for the first time and maybe it will have killer video performance and the sensor is by Panasonic, will end up in a GH X1 which shoots ProRes. That would be sensible.

1. Yes. Look to Hot Rod Cameras or Ceicio 7 on eBay for the adapter   2. Active mount has advantage of being compatible with all mFT glass that has electronic aperture control or fly-by-wire manual focus or stabilisation. None of the Lumix or Olympus lenses work on the passive mount. Only SLR Magic and Voigtlander manual stuff without electronic contacts work on it.

They're from ReWo http://content.rewotechnic.de/?page_id=81

For Nikon G glass you need the Nikon Speed Booster. For Leica-R and CY you can use those via an adapter on the Metabones EF Speed Booster so that is worth waiting for if you plan to use a variety of glass, including M42 and Olympus OM too.   Sigma 18-35mm F1.8 might be beautiful on the Speed Booster. I will try it out soon on the Nikon version + GH3.

Compressed raw will be Cinema DNG 2:1