Andrew Reid

Yep, there was a patent filed. And now you see the results  :P

[quote author=jcs link=topic=561.msg3677#msg3677 date=1334104382] [quote author=moebius22 link=topic=561.msg3673#msg3673 date=1334103053] Wait till somebody figures out they can do this for money. [/quote] $450 USD + shipping (includes optical replacement glass): http://maxmax.com/IRCameraConversions.htm [/quote] A service like that [i]could[/i] be a solution for many people here. It is worth the price if they can do the 5D Mark III, and do it right. I'd enquire and explain the situation with a link back to this article.

Sorry for any confusion. By better I mean better specified. That paragraph is all in the context of specs, since the whole article is about the specs of the new camera. It goes without saying I am aware (as most of my readers are) that cameras have different strengths and weaknesses depending on the job. All of them. You wouldn't use a GoPro to shoot a narrative sequence, or an Alexa as a helmet camera for instance. The FS700 is a much better specified camera and more attractive than the C300 because it is 4K capable, does 240fps at 1080p and is cheaper. I agree that the ergonomics on the C300 are better, but in my opinion Sony's offerings are braver and more compelling, for less money. Hard to argue with that! Subjectivity is one thing, the facts quite another. It is also a fact that the 5D Mark III has competition from Nikon. I hope Canon show a lower cost C100 or 4K DSLR at NAB as it is sorely needed by lower budget filmmakers.

Try formatting the card (low level format) and try again with the 24p mode.

I'm using a SDHC 95Mbps and get 66-88Mbit footage in ALL-I mode. What are you using to analyse and playback the footage? It must surely have a problem with ALL-I because there is no WAY the highly compressed IPB has better image quality from my experience.

[html][img]http://www.eoshd.com/wp-content/uploads/2012/04/cinema_eos1.jpg[/img] [url="http://www.nabshow.com/2012/default.asp"]NAB 2012[/url] is just around the bend and already some rumours have started to circulate about what Canon are up to. I’ve heard the same thing now from multiple people. I’m not a rumours site but if I was I’d give this a pretty good rating – although please do take this for what it is, a rumour! [url="http://www.eoshd.com/?p=7825/"]Read full article[/url] [/html]

Thanks for the test. But I'm still not seeing it!! Edit: at least not the different IPB makes. ND - I will test that!

[html][img]http://www.eoshd.com/wp-content/uploads/2012/04/DSCF0134.jpg[/img] [url="http://twitter.com/#!/millerandmiller"]First and foremost – a huge thank you to James Miller for the inspiration and guidance[/url] Disclaimer: I accept no liability, nor can I recommend this risky operation on your camera unless you are totally insane! Over Easter I disassembled my 5D Mark III. The aim is to remove the optical low pass filter that sits in front of the sensor block, a drastic operation [url="http://www.eoshd.com/content/7727/james-miller-removes-optical-low-pass-filter-from-5d-mark-iii-for-resolution-increase"]pioneered by James Miller last week[/url]. Removing it increases resolution in video mode and makes for a sharper image with no digital sharpening in post required. With results that good on offer, why do you need to be bonkers to try it? Read on to find out how the teardown went… [url="http://www.eoshd.com/content/7813/how-i-opened-my-5d-mark-iii-and-why-you-have-to-be-crazy-to-do-it/"]Read full article[/url] [/html]

There may be a reaction between the ND and OLPF that causes moire but I'm not seeing any extra sharpness or detail.

[html][img]http://www.eoshd.com/wp-content/uploads/2012/04/d800-mosaic-engineering.jpg[/img] Good news for Nikon D800 owners. Mosaic Engineering are currently working on anti-aliasing filter for the camera. Because the sensor line-skips to produce HD video, the custom-designed optical low pass filter should almost eliminate any moire and aliasing on the D800 if it works as well as it did on the Canon 5D Mark II. [url="http://www.eoshd.com/?p=7809/"]Read full article[/url] [/html]

[quote author=rishaar link=topic=545.msg3589#msg3589 date=1333971345] Andrew, can you please elaborate about the export profile in PP cs5.5? [quote]I exported to H.264 High Profile, level 5.1 from the original ALL-I 1080/25p which is level 5.1 originally.[/quote] Do you mean you created a custom profile mimicking the ALL-I properties? Beside level 5.1, what target bitrate did you use, and how many Pass? I believe this is a really important breakthrough, more and more people are saying (on forums of course) the ALL-I is crap compared to the IPB, which i find very intriguing. NLE compatibility and/or export settings sounds more plausible. [/quote] I find that intriguing as well, because in my testing IPB has been pretty poor. What are they saying about it on the forums and have you any links?

[quote author=gene_can_sing link=topic=548.msg3626#msg3626 date=1334000839] [quote author=hoodlum link=topic=548.msg3623#msg3623 date=1333997127] [quote author=gene_can_sing link=topic=548.msg3619#msg3619 date=1333994811] I wondering if Panasonic is going release an industry standard 1.5-ish crop? Hate to say this, but if Panasonic sticks with the Micro 4/3rd 2x crop, it will never be used on high profile, marquee type projects no matter how high the resolution. The aesthetic is noticeably different, at least to Pros. Can they make Micro 4/3rd at least a 1.6x crop? Is that even possible? [/quote] You could say the same about FF vs 1.5 crop.  Actually the difference between m43 (1.85 crop in video) vs 1.5 crop is small compared to the drop from FF.  Lens selection will have a greater impact. [/quote] Depends on who you talk to. GH2 fanboys will say there is very little difference, to many other people, there is definitely a noticeable difference between 1.5x and m43rds in DOF. Plus, a HUGE difference if you are shooting super wide or with fisheye type lenses where a difference of 2 to 3mm is an entirely different composition. For the pro market (many of whom are very particular), Panasonic shot themselves in the foot with M43. But I'm wondering if Panasonic can somehow adjust the crop to make it wider? Or is that impossible. [/quote] M43 isn't the right choice for the AF100 or successor(s). It was a consumer format so that the lenses could be smaller and more portable. Panasonic thought - hey, let's be first to the market with the AF100 and do it as fast as possible with our existing sensor and lenses. I'd be very surprised if the NAB 2012 cameras are M43rd's. M43 does however get a bad rap for having a smaller than idea sensor size. I have never really found it a massive issue to be honest, and the difference is actually quite small and more than compensated for by focal length and aperture.

http://vimeo.com/39341733 Falk Lumo has done a great technical analysis of the Nikon D800 and how it obtains 1080p video from the huge 36MP Sony sensor inside. [b][url=http://www.eoshd.com/content/7788/classified-no-longer-how-the-nikon-d800s-36mp-sensor-line-skips-for-1080p]Read full article[/url][/b]

Spot on TC. P2 would be far better if it wasn't just an excuse to do massive mark up. Love the tech, but c'mon!

Sounds reasonable. A friend I trust on Twitter just confirmed with his source there will be 4K offerings http://twitter.com/#!/marvinhello/status/189325161588199425

[html][img]http://www.eoshd.com/wp-content/uploads/2012/04/panasonic-avc-ultra-meeting.jpg[/img] Kunihiko Miyagi, Director of Pro Video at Panasonic in the factory in Kadoma, Osaka has given a glimpse of what Panasonic have in store for NAB later this week. To quote verbatim from his blog: [list] [*]A new visual world created by the new AVC Ultra platform [*]Panasonic jumping in to the world of ________ [*]Further evolution in P2 cards! [*]What the next generation of cameras will look like[url="http://www.eoshd.com/?p=7793/"]Read full article[/url] [/html]

[quote author=Tim link=topic=545.msg3587#msg3587 date=1333965502] Are the fuzz in the shadows under the bridge shots from the internal codec or from the Vimeo compression? [/quote] It is supposed to be as black as night under that bridge. It is some kind of playback issue with your display or gamma boost. Even if you boost the lows to an extreme extent on the first shot in Premiere you get quite a fine grain of noise. I only notice ugly macro blocking under the bridge on a computer display which is set too bright. It is fine on my calibrated MacBook Pro (2011) 17" display and Panasonic projector. What about downloading the original file from Vimeo and trying then?

The magic is purely that of the lens being designed to cover a full frame sensor. Cropping into that image circle removes some of the more interesting aspects of the image toward the edges and means you need to go for a wider focal length for a wide field of view, making depth of field deeper and less shallow. A full frame sensor allows you to really open up the bokeh at 50mm compared to 25mm. The Voigtlander on the GH2 is a superb lens. The super fast aperture of F0.95 compensates somewhat for the wider focal length on the 1.86x crop sensor of the GH2, giving you a shallower depth of field, a dreamy (yet still sharp) look wide open and it has very unusual bokeh, and a radial curving of the bokeh around the edges of the frame along with a very attractive vignette. It mimics a lot of the qualities of a lens when it is on a full frame sensor. The GH2 with good glass is lovely. Resolution on the GH2 is fantastic. The crop sensor allows for a fast aperture at tele-photo focal lengths, as 85mm is tele-photo on the GH2 whereas on full frame it is just a medium portrait lens. Both of these cameras have their special qualities.

[quote author=Lenslover link=topic=545.msg3569#msg3569 date=1333919276] Thank you for the brilliant site Andrew and the regular news and updates that keep it fresh. I wonder if you would mind elaborating on your comment.. "But there is a magic to full frame, as there was with the old Mark II. It is all in the rendering of the lenses". I find no-one being able to pin this down properly. Apart from the crop factor's effect on focal length, how is the same lens 'rendering' differently on a full-frame to give it 'magic' rather than if it is on a crop sensor body?[/quote] Since the sensor is larger, you can use a longer focal length but maintain a wider field of view, especially with an anamorphic. So 50mm is as wide as a 25mm on the GH2. Now that means you see more of the rendering of the image in the circle of light projected by the lens into the sensor, and a shallower DOF partly due to the longer focal length. It is a unique look.

GH3, if this year, will be at Photokina as NAB is not the market for a consumer stills camera, albeit one with a very well integrated video mode - a true hybrid cam. Panasonic will unveil some new video cameras at NAB based around AVCHD Ultra (12 bit, 4:4:4 codec).

[html][url="http://www.vimeo.com/39953108"]http://www.vimeo.com/39953108[/url] Feel like I’ve had a breakthrough with the 5D Mark III on this shoot. [url="http://www.eoshd.com/content/7780/shooting-in-london-on-the-5d-mark-iii-with-iscorama-36-1-5x-anamorphic/"]Read full article[/url] [/html]

In terms of the bitrates the GH2 is better than AVCHD 2.0 so it would rather be a backward step. It is closer to AVC Intra 100. Now 1080/60p is definitely of interest, and there's a patch for it in PTools but it doesn't yet work properly. Corrupt recordings.

Both the same in terms of lenses, image quality and 24p. The difference is entirely in the build and the monitoring. Weather proofing and full 1080p HDMI on the 7D. Swivel screen on the 60D which I actually prefer sometimes over a HDMI monitor or EVF when shooting light, or for stealth factor.

I've removed kanton's access to the forums because he's trolling. First one we've ever had. Had an eye on this guy for a few weeks now. His posts have added nothing but pointless argument and he was unpleasant to a number of people including myself, without anything positive to balance it!! Not a reflection on anyone else... You are all constructive and polite, please carry on.

I'll provide two, purely because I would love to see you argue that red is blue. It is entertaining.  ::) [url=http://vimeo.com/33047750]http://vimeo.com/33047750[/url] [url=http://vimeo.com/33025136]http://vimeo.com/33025136[/url]