Andrew Reid

You misunderstood. This is genuinely a thread for shipping information. We have the other thread for general banter.

Almost covers the full sensor on Nikon 1 so will be fine on the smaller Pocket Camera sensor. Don't expect sharp corners though :) Also check out Julian's c-mount sticky thread in the main forum.

A more current auction. $9k http://www.ebay.co.uk/itm/Zeiss-8mm-T1-3-Ultra-16-Arri-PL-mount-/180918390524?pt=LH_DefaultDomain_0&hash=item2a1f938efc

Amazing bargain.   Seems not much demand for S16mm cinema glass from pros at the moment!

People of the world. Have you been able to locate a Pocket Cinema Camera or Blackmagic 4K Production Model? Has your dealer been weeping on your shoulder recently? Do you know something we don't?   :)   This is the place for all Blackmagic camera related shipping news.

The Lumix 14mm pancake is OK but a bit sterile and has quite a lot of distortion.   I have one, so if you'd like to see some more tests let me know. I haven't covered it much on EOSHD, because it's frankly a bit boring compared to the SLR Magic 12mm F1.6 or the Olympus 12mm F2.0 and you can get a good compact prime by going down the c-mount route.   It is however very good for the price. It's as cheap as chips!   Be aware that it won't be very wide on the pocket camera.   Better to go to the 20mm F1.7 pancake and a Switar 10mm F1.6. The Switar is the same price as the 14mm Lumix and the lovely older version 20mm pancake has come down on eBay since the new one has been released.   New one is smaller and lighter, very nice.   New 14-140mm is also impressively compact compared to the old version. Panasonic working hard on size / weight reduction of their lenses at the moment.

The macro and the roof top shots, very tense when spliced together for some reason. Very subliminal touch. I think the close ups make the drop feel larger, the roof higher, it's a very powerful technique you've got there! Can I steal it!? :)   Here's my interpretation - God comes across as a malevolent observer, the dark humour works well.

  But hey, no big deal right!

  Trying to stay calm in the face of bullshit like this is very difficult.

  Yes, silly customers! They believe what they're told! How stupid! Blackmagic announce a camera in April, say you will be getting it in July. Doesn't sound at all realistic to me!   None of this anger is at all justified.   Customers should never expect Blackmagic to deliver on any of their promises.   [End of sarcasm]

  Criticism is fine when it makes sense. Otherwise it's just annoying.   I don't know how many blogs or forums you run iamoui, but until you have that perspective you have no idea.

  Who says I am moderating?   I think your opinion is idiotic. That's the main thing.

I don't care how much money you are profoundly interesting from making from your PRO SHOOOOOTS with a camera, and that is the primary reason I have zero interest in whether you think Magic Lantern is reliable enough for such a money making excerise or not.   In truth, the software is reliable. I press a button and raw video comes out.   In truth, the workflow is not a nightmare. I drag and drop the files to an app, and ProRes and Cinema DNG happen.   Don't criticise what you don't understand, and if you do in fact understand it, show some.

  Your summary of my reportage is fucking shit. You've taken my points, simplified them, stupefied them and taken them out of context.   Speed Booster makes a soft crappy full frame H.264 feed redundant when you can put one on a Super 35mm 4K raw cinema camera. That's what I was saying.   The 5D3 was soft. Things change. Magic Lantern raw came out.   It is OK to dismiss something once, then accept it again when it is in dramatically improved form.   You're a fucking idiot.

  Tolerance is a good word. Mine just ran out.

Yeah, I agree Magic Lantern doing a fantastic job at that.

  Bruno please don't be naive. The production ramp up time is long for a complicated device like this. Do you really think they have any idea when they will get the cameras to customers? If it were a few weeks, the production line would be already going. They'd be able to tell us a firm date. Neither seems to be true. They can't even give B&H an ETA let alone customers!

  I don't think Blackmagic got cash advances from dealers from the preorder stash. Some dealers didn't charge a deposit. But I'm 100% with you on the sentiment. I can't support what Blackmagic are doing here and I'm seeing some very concerning cracks open up in the lines we've been fed. To deliver 12 months late is one thing. To look for all the world that they might do so for the 2nd year running on 2 more products is even worse. Delivering below spec is absolutely the cherry on top of my dissatisfaction with the way they are doing business. If you are holding out for a raw firmware update on the Pocket which you have paid for, just bear in mind that the BMCC has had no significant features added since it was announced, not even audio meters.

  Sometimes just a default conversion job is what's needed, and the option to go above and beyond that into advanced settings could be there anyway.   In the end convenience wins. A lot of people just want a better image than the default video mode and to edit ProRes.   I propose 10bit LOG because then at least you can apply a LUT in Resolve and still have some flexibility to change the image.   Add to that an option for non-LOG output but a slightly flatter image to bring up the shadows and recover some highlights, a nice debayer, a bit of de-noising and the ability to fix some quirks of the image would be very welcome.   Then the simple Fast Color Corrector in Premiere can do light grading, add contrast, or do whatever the user likes.

  Yes it can flare up but there's moire and false detail on almost EVERYTHING on a Rebel! It seems to happen less frequently on the 50D, the pattern you need to get the red / blue / green errors and false detail is much finer.   Yeah some of it comes from the debayer. ACR has a certain trademark flaw in the debayer and you can see it sometimes even with 5D Mark III raw video. Not a problem with stills though.

  Raw2DNG has a lot of yet untapped potential. Depends what direction they take it in. What would be great is a quick way to demosaic the raw files with AMaZE, output to ProRes quickly.   Raw2DNG could have controls like Rawtherapee, even false colour suppression, but work from the raw files instead of the DNGs, cutting out a transcoding step, and give us ProRes to edit from.   It could also have an option to output flat LOG ProRes to make it more gradeable.

The moire and aliasing on the 50D is nowhere near as bad as it is on standard Canon DSLR video modes.

  A good way of crystallising why I think Blackmagic are in the wrong here.   Last year it was different. Sensor supplier made an error with the dirty glass, Blackmagic helped them fix it. Or so the story goes.   This year it is nothing but a complete balls up, and I'm not talking about the Pocket camera delays - we'll see on that one at the end of the month - no I'm talking about the fact that even a year after it was due to be in stores, the original camera is still made in low quantities and the MFT version is only just starting to ship, again in small quantities. It is an abject failure.

Hopefully the faster new SD card standard will encourage future DSLRs to have faster card controllers, and possibly higher quality video out of the box - 10bit LOG in ProRes 4444 format would be just fine.   I don't absolutely need a raw workflow for everything (much as I would love it) but I absolutely DO need the image quality it is giving me. It's incredible.

No the 12-35mm is very good, just as sharp as a prime. You said it yourself - versatility and never shoot lower than F2.8. The main reason to go for a prime is the fast aperture.   If the 12-35 was a low end lens I'd say go for the prime but it isn't.