Andrew Reid

It depends on so many variables - what dealer, how many orders they already taken, how far up Blackmagic's list of priorities they are, which country they are in, the batch sizes they chose to order. You'd sooner find the answer to the meaning of life I'm afraid :)

[quote name='HurtinMinorKey' timestamp='1346084329' post='16617'] The let's not pretend the image off the FS700 competes with the c300. The fs700 shoots high framerates, that's about it. [/quote] The C300 fan boy speaks! The FS700 is 4K capable with an external recorder. How does the image not compare? Sure the internal codec is not as good as 50Mbit 4-2-2 but via HD-SDI to a $200 HyperDeck Shuttle it is 220Mbit ProRes 4-2-2 and BBC approved! In low light the FS100 and C300 are similar, the FS700 slightly behind but only by around 1 stop. I prefer the ergonomics and build quality of the C300 but in terms of the image, come to me when I am shooting 4K ProRes on my FS700 and tell me it doesn't compete to your 8bit 1080p.

[quote name='lafilm' timestamp='1346039183' post='16580']Ok, the APS-H sensor size (4K 8-bit 4:2:2 color - on the 1-DC) is quite a bit larger then APS-C (closed to Super 35 for movies) and you will notice a huge difference. It's basically in the middle... Check this; 25mm lens = 32.5mm on APS-H 25mm lens = 40mm on APS-C [/quote] Canon APS-C is 1.6x crop. Super 35mm is actually larger, in the FS100 it is more like a 1.5x crop so 25mm = 37mm. Canon APS-H is being cropped to 16:9 as well don't forget. So actually the crop factors are similar all things considered. [quote name='lafilm' timestamp='1346039183' post='16580'] It has a fuckin headphone jack :D [/quote] Should think so for $15,000. It is a $0.50 part! But no XLR jacks... And we are supposed to be excited about it?

Great comeback Mark. People need to realise there is such a thing as the internet. You don't have to physically put a card into an C300 and physically copy the files onto your laptop to make an informed judgement on the image quality.

Trust me, the GH2 has a miles better image in video mode and more choices of lenses. It also has a hack so you can tweak the image and features of the camera further. The camera has manual audio control and on screen meters, you can also tweak audio quality with the hack. I see no reason for buying a 600D or 650D for video unless you need an optical viewfinder for stills and have a lot of Canon L glass you don't want to sell! Don't judge an image from Vimeo, download the original file. The 600D can look great in the right hands like any camera can, but the image is generally a smeary, moire affected, low detailed mess especially with wide angle.

No because the OM-D doesn't have an HDMI feed in video mode, only playback mode. Listen - what a lot of people don't seem to get about HDMI is that right to this day (D800) aside, it has been a compressed interlaced feed and no better than the internal recording of DSLRs. It isn't worth using unless you have the camera to do it justice like the D800, FS100 or possibly the future Sony offerings.

Indeed the Scarlet can be had for this price even with Red's SSD pricing. I agree strictly rental, and only if that 8bit codec holds up. With the Scarlet at least you get raw. And it doesn't do 4K in full frame mode so there's little advantage to be had there over the Scarlet. At time of writing it doesn't even do 25p in 4K (rules out half the world) or peaking (yet). Magic Lantern has peaking for free, by a third party with no access to Canon's libraries and SDKs. It beggers belief that Canon don't yet see fit to put it on this for $15K!! This is the kind of thing that really gets on my nerves. After I posted the 4K files from this camera, I got an email from Canon's pro division product manager in Canada asking to speak on the phone. I emailed him back, but soon afterwards he went quiet and we never made that phone call happen. I presume it was to ask me to take the footage down! The only tip I have for Canon right now is god damn listen to me because you are going off the rails big time in the sub $10k video market.

If you want the wider field of view, the Sigma 8-16 will be the one to get. 8 compared to 11mm on the Blackmagic makes a hell of a lot of difference. 18mm equivalent to 25mm. So one is standard wide and one is ultra wide. If you value the faster aperture more, on the Tokina then that has to be it. Quite a big difference between F2.8 and F4 as well. A shame we can't have both in one lens! Also don't forget the rather lovely Canon EF 10-22mm F3.5

The Samyang is by far the better deal vs the Sigma 30mm. Yes the Samyang is full frame unlike the Sigma, and far sharper wide open. The 4.5mm is a Fisheye, it will have tons of distortion. Again can't think of anything better for wide angle on the BMC than the Tokina 11-16mm F2.8 in Canon mount. Nothing is as sharp or with less distortion or a faster aperture at 11mm.

LOMO OCT 19 or PL? Cheers for the update.

You don't need to pay several hundred for ProRes on the GH3, just a couple of hundred will do for the Blackmagic Hyperdeck Shuttle and an HDMI cable :)

Is there any way you can change your avatar? It is awful, sorry.

Just a second, let me find that $15,000 down the back of my sofa...

I don't think they will be adding HD-SDI and 12bit raw in a firmware update :)

Here is Frank's graded version - http://frankglencairn.files.wordpress.com/2012/08/frame000060.jpg Yes if you push this shot you are going to see a LOT of noise. But with F4 in the dark, it is hardly surprising. This is the exposure we're really trying to rescue here: [img]http://www.eoshd.com/comments/uploads/inline/1/503a9e3075667_Frame000060actualexposure.jpg[/img] You'd need to boost the curves to the equivilent of something like ISO 6400 or even 12,800 to compensate for the under exposure. So when you see noise, you are really seeing what ISO 6400 looks like on the Blackmagic camera! And on a DSLR you would not be able to pull that up. You need faster glass.

Who is this guy, got a link?

Check out another raw DNG sample from Seb https://www.facebook.com/wiegaertnerfilms/posts/455784874461739 I'd have under exposed this a little but it is good like this since it is nice to see how much of the highlights in the grass can be recovered. Great shot too.

Here's a raw DNG shot in very low light from Frank, to try grading. [url="http://www.eoshd.com/uploads/Frame000060.dng.zip"]http://www.eoshd.com/uploads/Frame000060.dng.zip[/url] Check out the [url="http://frankglencairn.wordpress.com/2012/08/24/first-hands-on-the-blackmagic-cinema-camera-test-diary/"]test diary[/url] with more info!

Please can you explain the issue in writing? 5DtoRGB avoids the gamma issue so you have a valid reason for using it but it is better you explain more fully.

I disagree. Surprise. Look at the day rate of a Red shooter, raw moves you the ladder in the eyes of a client. I know a lot of clients who are keen to avoid the DSLR kid look now having been stung before by a cack handed shooter clutching a Canon 7D. Making cash as a photographer is a completely separate issue to making a living as a videographer. If you cock up a shot with the 5D Mark III on a job you can't save it later. What if your white balance is off, or your exposure, or one shot doesn't match the other when you cut them together? Maybe you come back to do a re-shoot the next day and your exposure is different, then it doesn't match on the timeline - with a raw codec that isn't an issue. Far more safe. Then there's the focus issues you get with a large sensor and clients really are getting tired of having their subject coming in and out of focus. On a smaller sensor again you have that extra safe margin. The Sony full frame E-mount camcorder will be the final nail in the coffin for the 5D line in pro video world. There are numerous reasons why, but we'll have to wait till September to find out if it has any major drawbacks that could stifle its potential.

It isn't out of my price range, I have one sitting on my desk.

It depends what you are used to shooting with. All the DSLRs are predictable once you learn to predict the outcome. You sure will if you want to keep old projects in raw format, archived away for years to come. I've looked at drive space and you can get a 6TB (6000GB) block for around £350. 30 minutes of raw footage takes up around 250GB. You can convert it to high bitrate H.264 once basic grading is done, and make more minor changes to the archived project / re-edit the timeline, just as you would with AVCHD. I won't be storing all my projects in raw, only the most important or stuff with a lot of artistic merit You don't have to edit the raw files directly. You can do it by proxy. Or simply transcode, or use the ProRes workflow for a faster turn-around for a corporate video and 1080p delivery. On personal projects I'll be using raw. When I just want to slam an image out there I'll be using ProRes. You have the choice. Likely far better. I haven't seen this from the camera yet though apart from via Vimeo from John. Ditto on the audio, unlikely to be a problem but cannot say for sure yet.

It is as simple as you want it to be. Flick the ProRes switch in-camera for a fast turn around.

I am in their marketing team now? I don't promote, I write about what I use as a filmmaker. When Canon do something good, I will be singing their praises until the cows come home.

Yes the Blackmagic has a significant resolution advantage over the FS700 just make sure your production hardware and storage can handle a raw workflow.