Paul Watt

Really like the review. But I'd like to see more than lockoffs at night to get a feel for the unit. Looks very nice tho. I do question whether anyone ever gets a job with any of these non-mainstream cameras. Can anyone chime in? Do you actually make a living running anything other than an Epic or Alexa? I think I work a pretty broad range of productions in terms of budget, and no-one wants anything but these two cameras right now. There's an occasional request for a C300, but that's it.

Well, if you're gonna nitpick, T-Stop is the same on any sensor, F-Stop is gonna vary depending on the lens.

Wow.  Amazing.  The excuses for why the 5D Mark III won't work in a pro environment are falling one by one.  It'll be interesting to see the comparison between the new BM when it comes out and this camera.  

Interested in the observation that there was more colour info than in the Epic. I'd like to hear more of an explanation. If it's the case then this interests me even more.

Reading just the chapter and section titles I want to get a 5Diii, so I have a reason to get the book. I bet if you did a Scarlet/Epic one, with the same informative form you'd sell a buttload. You'd have to listed to even more bitching than usual from the disgruntled peanut gallery, but I'd buy it.

Funny, they take off the fixed lens, add a dumb mount, then triple the price.  It does 60p, but that's all you can really say positively about this cam.  You could have a loaded Scarlet for that, or a useable used Epic for just a few grand more.  Or a loaded F700, or even an F5 for just a touch more.  Or, a base Scarlet and a Black Magic.  Or two Black Magics, and a Mac Pro.  JVC, wow! 

Yeah, with used shootable Scarlet setups for 10 000 USD including a monitor this is a pretty tough sell.  Slow rolling shutter and 1080p is a bit behind the times.

looks great, but rolling shutter problems kills it for me.  

Don't think Arri or RED or Blackmagic have too much to worry about from either of these cameras.  A year or so away, probably quite expensive, probably a bit of a clumsy workflow.  Canon, on the other hand, is in trouble.     Great to see a crowded marketplace driving innovation and prices, tho.  

Global shutter is such a huge upgrade.  That with 4K will make it an amazing mini-heli cam.  The obvious weaknesses are the file-sizes (especially compared to R3D files), and the lack of higher frame-rates.  I don't think the higher end camera manufacturers are too stressed either.  Regardless of how amazing this camera is, many producers are going to insist that the cameras used on their projects cost a lot more than 4 grand.  

Those two episodes of Top Gear were epic.  Maybe the best Top Gear road trip ever.  I did notice rolling shutter jello on some shots on the show though.  Great shots and a great tool for their shoot.  

I did check out Sony's new 4K tv a while ago.  It was stunning, and there was a group of guys ogling it.  We started chatting, and it turned out every one of the 7 or so guys standing there worked in the motion picture industry.  A colourist, a couple editors, a dp etc.  It's true that no-one else really seemed to care.  Well, I want one, but truth of the matter is I hardly watch anything on the TV I have, so it would probably be a waste of time.  I'd love to see the World Cup in 4K 3D though.

Checked prices on that line of Toshiba SSDs, and the markup isn't that much.  I was wondering if I could get a 48Gig one and slap in a 256Gig drive and save some cash, but it's definitely not worth it.  Interesting to see though.

Every producer I know wants to know one question:  Do you have a RED?   The versatility of RED raw and the established workflow seems to be taking over the mid-level market.  I don't think dropping 15G on a 1DC makes any sense at all when, as was stated above, you could put together a pretty decent (and somewhat upgradeable) Scarlet system.  

After seeing the new Sony 4k TV a couple weeks ago, I think they'll find an eager market once the price becomes reasonable.  And all of the 4k TVs are 3D as far as I can tell.  The problem with most current 3d TVs is that they are crap.  You're either seeing half res, or dealing with active glasses and ghosting and flickering.  The Hobbit HFR 3D was very comfortable to watch, and the 3D looked great, even if the image looked videoish, and this problem ruined the fantasy of the movie.  Sports or docs in HFR 3D are things I'd be stoked to see.     Also worth mentioning, The Hobbit was finished in 2K, so you can't blame 4K projection for the inconsistant makeup, or seeing Gandalf's contact lenses.  I never saw The Hobbit at 24 fps.  Did the makeup and other set problems show up there too?