Andrew Reid

Got a reply back from the nice people at CMOSIS. [color=#000000][font=Helvetica][size=3]"As you can read in the our press release is the CMV12000 mainly targeting industrial vision alike application. This is mainly due to the presence of the global shutter architecture which is a requirement when capturing moving objects (like in production lines, traffic cameras…). The sensor has a global shutter only, not a rolling shutter. There's indeed an image quality trade-off when choosing for global shutter and this is mostly a penalty in dark noise and dynamic range compared to rolling shutter only sensors. [/size][/font][/color] [color=#000000][font=Helvetica][size=3]However we see indeed that a lot of interest is coming from the broadcast industry as well because of it's resolution and reasonable pricing. I would rather not provide the full price list but can tell that the sensor sells for less than $1700. The exact reasons why the CMV12000 is so attractive is probably because there are not tot much alternatives but I guess that people like Blackmagic Cinema Camera can probably elaborate more on this."[/size][/font][/color]

[quote name='galenb' timestamp='1353471122' post='22039'] It couldn't be that one because as stated here: [url="http://www.eoshd.com/content/9060/the-new-leica-m-as-a-filmmakers-tool-an-interview-with-leicas-jesko-von-oeynhausen"]http://www.eoshd.com...-von-oeynhausen[/url] The sensor in the new M is a CCD. [/quote] It isn't a CCD. It is a CMOS. Interview clearly states that in first half. Are there any typos you are spotting?

[quote name='TC' timestamp='1353458535' post='22027']There is Convergent Design, Atomos, and AJA who all make hardware recorders - basically a camera without a sensor. They clearly all have the right expertise in high-speed signal processing. There is also Matrox, who don't make a recorder, but have a large range of video encoding hardware. Perhaps there is also another rich enthusiast like Jim Jannard, who realises that the parts you need to build a high-end video camera are largely commoditised and are available to order right now. All you need is to put them together in a box with a lens mount. [/quote] Very good point. If there is to be a challenge to the status quo it will be from exactly these kind of people.

I have bookmarked his forum. Great stuff thanks for sharing.

[url="http://www.eoshd.com/wp-content/uploads/2012/11/cmosis-CMV-12000.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/11/cmosis-CMV-12000.jpg[/img][/url] Above is a new scientific sensor by European company CMOSIS which has amazing potential in a cinema camera. [list=1] [*]Super 35mm / APS-C sized [*]4K raw at 12bit (90fps) and 10bit (150fps) [*]4:3 anamorphic 4,096 x 3,072 [*]Global shutter [/list] This part is ready to be mass produced and is available off the shelf.

I plan to do a 2nd version with the 2.5K scaled down to 1080p and everything full screen.

Most modern movies are shot at T5.6 for focus as well. It isn't about what era of filmmaking, it is about the practical realities of shooting.

Hero 3 at 4K is 15fps with a fish eye! Totally different kettle of, erm, fish. JVC... Not as cinematic and the 4K res when you view it at 1:1 level is smudgy. The sweet spot of glass is the centre crop. I don't see how the VG-900 has anything to offer from the full frame sensor over the 5D Mark III. The image is just not up to it.

Well said!

We were testing wide angle shots for how well the cameras resolve detail. Close-ups don't give you this. We could do a separate test with a model for skin tones, etc.

Shooting 4K stock material which is highly in demand is a good way to make the 1D C pay for you. £150/month is very affordable in light of what you can do with it. It is the $12,999 up front that is more of a problem. Will camera stores in the UK even stock a cinema camera? CVP are a better bet and they do finance deals as well, check them out.

If you don't get a b-cam that uses the same lenses as your A-cam that could be a additional cost I'd say. NEX 5N is a cheap body but not sure what lenses you're using on the 60D. If EF then you need the Metabones adapter and it is not cheap. Why not just pick up a used 550D / T2i as the B-cam? It is the same as the 60D when it comes to the image.

You can have razor thin DOF on the Blackmagic. That is what the interchangeable lens mount is there for.

I kind of lost interest in shallow depth of field when I shot Zen on anamorphic and realised that at F5.6 on a 1.86x crop sensor (GH2) it wasn't giving me much shallow depth of field but that the character of the blur was what mattered most, not how much of it there was. Here is the relative size of the Blackmagic's sensor to the GH2 and others.

You can still isolate the subject from the background. It is not small chip. Who wants a completely creamed out background any way? No major motion picture I can think of off the top of my head is shot entirely at F1.4 on S35mm.

It isn't approx S16, it is approx Micro Four Thirds. Big difference. You try a S16 lens on the Blackmagic Cinema Camera, likely will vignette by quite a margin. Sensor size is one aspect of the image, try not to get too hung up on it. Worthwhile endeavour? Don't be silly.

Samyang 24mm wide angle isn't wide on the Blackmagic, you need a 10,11,12 or 14. I prefer the Samyang 35mm F1.4 it is sharper.

Pile of crap, there you can say it. But you're wrong. The DSLRs are still as good and as exciting as they always were it is just that the Blackmagic Cinema Camera is EXTREMELY good and has raised the bar at the $3000 price point. You can blah blah blah about Red all you like, they are not $3000. Big difference for most of us.

The form factor really is good for my kind of work. I don't 100% understand the obsession with excessive rigging. Here I have with the Blackmagic a much larger screen than a DSLR and a picture making box with securer connections on top of sticks. Want more? Not me. On a DSLR you have a tiny screen and wobbly HDMI port, then inevitably spidery arms to whatever add on is flavour of the month. Not for me really. I like the simplicity the Blackmagic gives my shoots.

The 1D C in my opinion looks very nice. But it is $12,999 (maybe even $15,000?) and that is the problem. The Blackmagic is $3000. Shoots 12bit raw. You may have heard of it :)

http://vimeo.com/53821829 In a joint shootout with Slashcam in Berlin, EOSHD put the Blackmagic Cinema Camera into a bear pit against all rivalling cameras between $500 and $4000. It was a clear day and the results are just as stark. Here's my verdict on which camera you should buy - based purely on image quality. The following cameras are in this test: Blackmagic Cinema Camera (retail) Panasonic GH3 (pre-production v0.5) Panasonic GH2 (hacked) Sony FS100 Canon 5D Mark III Sony NEX VG-900 (full frame E-mount camcorder)

This is something I'd like to see on the market for MFT and E-mount, but I'm not an optical designer so don't know if it is possible or not. Anyone else chime in?

[quote name='BurnetRhoades' timestamp='1353099045' post='21804'] Is the patent still in a stranglehold on the Iscorama though? That'd be great if it functioned like you're saying but I hadn't even considered it because of the patent. [/quote] Actually is out of patent now, I am told.

I don't ban people for negativity, rather then they have absolutely zero of interest or knowledge to offer the place...

You shouldn't be surprised by that John! Get a bunch of guitar players together, give them the same model and see if they all make the same noise. Comes down to talent in the end, and avoiding the kind of shot that the camera is poor at. Unless you are showing it for testing purposes, you wouldn't use a camera at wide angles which was bad at resolving lots of fine detail.