Andrew Reid

Yes indeed not all intra-frame high bitrate codecs are created equally, especially encoder chips. A lot of the mosquito noise on the 5D Mark III come from low contrast areas where the codec hasn't allocated enough data, or allocated it in the correct way. Sony NEX is already better in that regard, with cleaner shadows too and the FS100 especially so. They are not even ALL-I 80Mbit but the engine and sophistication on display is vastly higher.

[quote name='cpc' timestamp='1346156462' post='16704'] There are some tests on BMCuser that indicate (at least some) s16 lenses may actually work pretty well in terms of coverage. Problems with wide mount side lens diameter may prevent mounting though. [/quote] Yes this is indeed the main issue. I have an OCT19 mount adapter for Canon, this is also a positive lock mount, basically a Russian copy of PL. The rear of the lens hits the mount because it is too shallow and not wide enough. Out of 10 lenses I only have 2 that physically fit, and one of those doesn't focus to infinity because the rear of the lens moves back further the closer you get to infinity. The register distance of PL is actually very long but the rear element of the lens sits at a very variable distance depending on the lens, zero standardisation in the Soviet days.

Photodiode enlargement sounds like a fancy name for gapless micro lenses. It will be intriguing to see what new technology there is under the hood since Sony seem to be pushing so hard on CMOS at the moment, patent after new patent. What is 'light concentration' technology? I thought the lens did that ;) True very little info about the video specs, bitrates, frame rates, etc. Hopefully it will have uncompressed HDMI too.

Most PL mount S16 lenses won't fit the Canon mount anyway. Perhaps Illya at Hot Rod Cameras can provide an extensive mount mod in future though. Then, some S16 lenses will likely cover the sensor but some will vignette because like as John correctly says above the sensor is larger. [img]http://www.eoshd.com/wp-content/uploads/2012/08/blackmagic-cinema-camera-sensor-size-660x462.jpg[/img] I have tried a lot of S16 lenses on the GH2 (which is larger again). The primes like 25,50,75mm don't vignette. The wide angle stuff (10,12,20mm, etc.) vignette wildly as do the zooms. This is a shame as there is a beautiful Zeiss Distagon S16 lens on eBay right now for £500 which is 8mm T2.1. I think on the next BMD camera the sensor should run in three modes: Standard 16:9 as now Anamorphic 4:3 Super 16mm crop mode And the mount should be interchangeable. A custom bayonet with 18mm flange to get that EF tube out of the equation then official adapters provided by Blackmagic for EF, Nikon F, PL, c-mount and Micro Four Thirds. rather than relying only on Hong Kong ones. Alternatively if the M43rd's mount can be licensed from Panasonic even better. To have electrical contacts to use lenses like the 12-35mm F2.8, Olympus 12mm F2 would be ideal. Non-electrical and you can still adapter every other mount and use Micro Four Thirds lenses such as the Voigtlander Nokton 25mm F0.95 and 17.5mm F0.95. I also want to use Leica M mount lenses, but until then you can use Leica R lenses with the EF mount no problem. I know Blackmagic got some flack for their use of the EOS mount but it certainly makes a good starting point. There are a LOT of people out there with big investments in L glass for instance, and they will be happy to be able to use them with full aperture support on the Blackmagic. One question I have until I get my camera - does IS work too?

Yeah I am all for strong opinions and different ones to mine and when I counter the argument with a tough one of my own, that is often my style. It does definitely mean we can shake hands afterwards and an opinion should not count against someone. Fair play, respect, judge someone by their work not their opinions or political views I say. When it gets personal, people doing these character assassinations like it is gang warfare it really sucks.

I don't jump on everything, far from it. Anyway, back on topic now please. Otherwise this thread too will be going round the U-bend.

I don't know why giving them good news, makes them so upset. Maybe they need to take their medication.

Also 240fps is absolutely beautiful. It isn't a gimmick. Just don't overuse it.

Sure the C300 is nice but I don't agree with your assessment of the FS700, it isn't a gimmick camera or a bitch. And I know a lot of bitches and gimmicks :) The FS700 is one of the most future proof cameras out there not to mention the fact it is a full $6000 cheaper than the C300. Again the codec issue is sorted out by a $200 external box the size of a 2.5" USB hard drive, and again I just don't agree that it falls a long way short of the C300. The F3's image is actually superior to the C300, because it is 10bit and LOG. That makes a difference, more so than the fancy sub-sampling on the C300's sensor. But again we are talking very small differences here, they are ALL great cams. Some better priced than others (cough).

I have no problem with your personal preferences. But I feel you could do with using your eyes a bit more and brain a bit less. There's no way the 5D3 comes close to the Blackmagic in terms of resolution. I don't need to see a chart to see that. Slashcam based in Berlin are one of the most reputable professional review sites in Europe and if they say it has 600 lines then why would I doubt them? I'm planning to do a chart test with Falk Lumo of the 5D3 and GH2, but due to being so busy have not yet printed the charts. Charts do act as proof. In the meantime, your eyes and ears are just as accurate.

Yes get the Icy E-SATA dock for $30 and stick the drive into that. Lots of external drive readers are available.

Well that is true of many a DSLR, not just the 5D Mark III. So what is the unique selling point? Full frame sensor, yes. But look to the future and what Sony are bringing out. Also arguably the D800 is superior in a lot of ways. More detail in the shadows in raw stills, more resolution in both modes, and far nicer build, more tactile and better HDMI output. I don't hate the 5D Mark III but it just isn't good enough for video. Really, trust me, 1280x720 which is the REAL resolution of 1080p on the 5D Mark III is no match for 2400x1350 on the Blackmagic camera. Those larger files size give you a better image, who doesn't want that? Also it only takes 30 minutes to transcode a bunch of raw files to H.264 if you need the reduced files sizes and native editing workflow. I am sure in most projects you can find an extra 30 minutes.

Good conversation in this thread. Much better than how it went down at DVX

Great work as always by the time. Bare in mind that bitrate isn't the main problem with Canon DSLRs though. So it is unlikely to have any impact on image quality compared to the default 40Mbit or so. When Magic Lantern comes to the 5D Mark III however, then things will get interesting... :)

What are people's thoughts on this? Apple deserve to be rewarded for their innovation, on which they have done a lot more than most. But patenting basic physics in a user interface, what is that about? I have a feeling the patents system needs overhauling when it comes to software design. When you scroll a page on your phone it bounces back when it hits the bottom or the top. Basic physics in user interface design. Well you won't be seeing that in any cameras any time soon because Apple now OWN basic physics in user interface design. It is a big joke that they are allowed to patent this stuff and charge license fees for such basic things. When our camera touch screen UIs glow blue if you hit the bottom of a list, or do something else freaky like a fireworks display or flashing lights - you know who is to blame. I am no patent expert but I believe you're not allowed to patent universal concepts like physics, mathematics, colours and shapes. It seems the US patents system has forgot that when it comes to the virtual world. Here's Google's reaction to the Apple vs Samsung battle, and restricting customer access to Android devices http://www.bbc.co.uk/news/technology-19389732 I have a hard time believing any of this is good for the user. It limits consumer choice so much.

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.