Leang

What I would like... AVC-Intra 10-bit 4:2:2, 4:4:4 AVC-Ultra Upgrade to external recorder 13 Stops Dynamic Range Full Frame ND 3 stops Full HD, 2K 120fps AG-AF300 $ 6000

What a nice series. Thnx. interesting camera though as it's in between semi-pro to pro. its aimed for DIY customers. I would love to see a 300mm f2 Nikkor on it.

[quote name='richg101' timestamp='1351880352' post='20891'] search out the 'camera diner' episode from last night. nex e mount special. probably being uploaded right now. it was live last night [/quote] We're can I find this? Thnx

[quote name='richg101' timestamp='1351880272' post='20890'] at the moment the current metabones adaptors cant cover the full frame so you need to select aps-c crop mode. [/quote] Ok so you're saying that eventually MTF will more than likely figure out a Full Frame coverage adaptor? My point is that the LA-EA3 is like a dongle key so that the body recognizes FF activation. Like an encryption. FF lenses bodied to APS-C adaptor endeavors seemed easier to manufacturer since the sweet spot of the glass is centered. FF coverage is literally wanting the actual lens. I just think Sony is playing smart hardball for proprietary protocols they market. I hope I understood you correctly. The Nikon D600 and A99 share the same 24mp sensor. I don't know about the A99 having a cinema tone function like the 900, but the Nikon doesn't. Been thinking of the 900, but if we have to submit to A lenses for full frame then maybe not.

Seems like RED is just feeling a bit scared now that sensor technology premiums have lowered. Everybody understands the concept of nano technology. What seems new now will be outdated tomorrow. Red simply cannot compare revenue to Sony. Hell no, simply impossible. Red purists will agree that 4K workflow is becoming faster and easier. That has nothing to do in fantasizing that bigger companies like Sony NOW acknowledge 4K and that 2K and 1080p was a whole conspiracy. The advent of 4K transfer to print or DCP in 2007 with an obvious agenda for cinema has nothing to do with the lowering of sensor pricing.

I have a strong feeling that you can only rock true Full Frame with their A lenses. So in order to safeguard their marketing they bundle the LA-EA3 so that you must acquire their A lenses. They are careful with their descriptions as well. Here's the detail on the LA-EA3, "When it comes to lenses, the more options the better. In addition to E-mount lens compatibility, the LA-EA3 adapter is included in the box for greater creative freedom. With the LA-EA3 you can use A-mount lenses and take full advantage of wide-angle shooting at the lens's designed focal length with no cropping. Put simply, there's an entire landscape of lenses at your disposal that's sure to fit your needs." Do realize that any E-Mount lens is auto cropped to APS-C mode which basically becomes a VG-30. In fact you're buying a VG-30 (regardless of a FF sensor) if you don't have A lenses. Quoted above, eliminate "wide-angle" from their third sentence and that's (what I believe) the justification to sub textually say that only with A lenses can you achieve Full Frame from this proprietary protocol. I have a feeling that the LA-EA3 initiates the firmware to full frame. This is important as I would also believe that third party adapters might suffer from an APS-C auto crop! And Sony would have every right to do so which is why they bundle the LA-EA3. We need real FF focal tests with their adapter and third party. Therefore I believe without the LA-EA3 you do not have Full Frame via firmware protocol restriction. Any thoughts? Sorry for my skepticism but many of you would agree with me about cheap Firmware antics in the industry as well as hardware is sometimes a total slap to the face.

XAVC 5.2 10-bit I likess the workflow! Panasonic HAS to roll out an AG-AF300 utilizing their AVC-Intra 10-bit 4:2:2 and 4K sensor too. Varicam team better start waking up.

4K Home Entertainment in the USA is going to be nuts! You better believe there will be many fathers & sons wanting 4K for blah blah Superbowl X... There are conservative suburb laxed out retired men that IF SOLD right will want to watch golf like never before or any sport for that matter. Just wait until bars and pubs start buying those 84inch 4K sets and 4K live streaming starts rolling out steadily.... The point is 4K is coming no matter what and I strongly recommend everyone to jump on the wagon and not worry so much about filmmaking. Curious what Panasonic has up their sleeves... They've been really slow as of late. Probably focusing on proprietary shit as always

I think the only company that has squeezed itself to unfortunate attention is JVC with their HMQ10. Not many videos on the web but there are two tests that show amazing detail you almost forget about the compression compared to some of the best HDSLR's at full HD. it does have that weird batch protocol for four files but 8.3 constant megapixels at about 140mbs holds up nice. with an amazing grading artist I can only imagine even better results. with that being said was their mentioned prototype for 35mm lenses and bigger sensor. AND it will be great if they stick to their Nikon mount agenda. it would be an underground project to compete against the whole Canon fan army for less than their 4K 15K camera. such high premiums for 4K at the moment but you do indeed get more detail.

needs more spec on Pocahontas..

a bit unfair that the AG-AF100 was not included. truly unfair. different spec architecture than the GH2. this really bothers me. the AF100 is a very underrated camera. 4:2:2 8-bit w/ BNC out. cmon. too bad I couldn't invite Copoola to my premiere. what a stupid workshop. just marketing for "Zacuto."

so when's this stuff coming out.

jeez, small world!  do you remember what day you shot the Berlin Street Scene (drinking beeerz)?  I think that's my friend Holger by himself on the bench!  ahahah!

yeah I think the FS100 is the best buy right now.  I was fully advocating the FS700 for so long because of the slow-mo (highly useful for many fields) + the 4K upgrade.  however, a used FS100 is a better buy for general IMAGE quality.  I have sneaky suspicion that Panasonic is going to roll out a badass camera soon to respond to all the trends as of late, and I'm not talking about the 4K Panny introduced, but something in the middle.  I sold my AG-HPX170 months ago for an amazing price and didn't lose any money since it was a stateside purchase and sold for about the same value foreignly.  Anyways what I loved about the 170 was the vari ND filters 1/4, 1/16, 1/64 - so useful, plus it was 3CCD, so you would literally get amazing color matching at 1/64, fast shutters speeds, and no rolling shutter because of the CCD's! Had the AG-AF100 implemented AVC-Intra it would still be the biggest talk still today.  I believe Panasonic realized it was time to close the marketing lock that you didn't need PCMCIA "protocols" for fast write speeds since Smart Media cards started to catch up along with Compact Flash.  An AVC-Ultra Super 35mm sensor camera if Panasonic makes for less than 10K will destroy the Canon EOS cinema line.  Unfortunately there's more broadcast favor usage than cinema. 

So Panasonic has been running their compression rates at 100mb/s with their DVCProHD and newer AVCIntra for a while, and Canon a couple years back with their MPEG 2 @ 50mb/s.  Sony's new little $3,500 PMW-100 does also 50mb/s XDCAM, and JVC's Pro line has been doing 35mb/s.  It's to my knowledge the new $8K FS700 does a maximum of 24mbs?  Compared to a 220mb ProRes 422 their 24mbs codec holds up pretty nice.  Why couldn't they implement the 50mbs codec instead of AVCHD.  All theories open to discuss.  I'm afraid it's all marketing hype. =(

Camera C is by far the best from all of them, and I think the crew could've pushed the middle sunstreak a bit more.  Why?  Clipping or Peaking isn't that bad if done right.  It's a given you're going to get a little highlight burn on a cream colored house in daylight which is totally fine because the dynamic range from C will still maintain detail even in the farthest blue sky/cloud background and not affect foreground, so just a tad bit more intensity.  C has the most believable light in middle ground to background.  The reason why the black girl is set to step out is to see the light intensity on her skin tone.  A little bit more burst and it would've been perfect and more warmer in the middle streak of light.  Finally the foreground for the main characters has the best lighting from "a" side window and matching for REAR real daylight lighting.  That is the most important challenge from all the test is to match FOREGROUND, MIDGROUND, & BG.  Camera C's direction for lighting and camera advantage is just spot on.  The black clothing was a funny challenge too...and debatable for such a scene if you're fighting black detail.  it's not really a Jules Winnfield or Vincent Vega scenario, but anyway this camera definitely renders the most detail, so if the story requires fashion couture textures and details for a black outfit it's definitely a camera to use for such a scene. H comes second imo, but lost to foreground lighting to C.  i wasn't impressed with the color temperature from the opposite side of their faces from the "supposed" window out of frame. it seemed unnecessary.  compared to C, B & D has nasty compression and the colorist was trying to hard on the foreground.  for instance foreground lightning shouldn't seem akward to midground or background.  a lot of these camera tests seems like the foreground has morphed into a cave with separation to background or midground, so it looks fake, or rather poor lighting.  the challenge is to not look like a set.  that's lighting technique.  C has the best balance overall. 

so these are 50 or 60hz switchable?  or regional world distro?

is the nex7 50hz & 60hz switchable?

there are good uprez converts out there.  but to be honest 720p is more than perfect for this sort of shoot, ESPECIALLY on a MKIII.  Vimeo downconverts 1080 to 720 automatically unless you go to your settings and upgrade back to the original scale.  if you haven't upgraded to 1080 in your video file settings then pretty much you uprez'd 720 < 1080 > back to 720 which I would imagine some 2% compression inaccuracies for final output.  just theory.  again since most clients and professionals around the world judge off internet mediums and even smaller video frames from their office monitors 720p is more than fine.  ;)

http://vimeo.com/42710260 24mbs compression is a tad bit strict.  but the Exspeed 3 at 24mp is not that bad.  try and look at all the shadows and lows within the picture and you'll notice that for $700 the artifacts are not that bad.  I wasn't rocking any ND's at that moment, but I'm currently after some true-match glass.  more importantly for a Nikon stills camera you're getting a super value! white from the white horse was a bit more forgivable with overexposure, so I exposed for the high glare off the brown horses.

=)

looks very soft. like the kind of compression softness when you scale a lower resolution to a higher one, or there really isn't good focusing.... could be sharper.

special MFT mount for this and shoots 500GB-RAW stills! [url=http://youtu.be/6gEu3T8DcrI?hd=1]http://youtu.be/6gEu3T8DcrI?hd=1[/url]

[IMG]http://i50.tinypic.com/xlmpt0.jpg[/img]

[quote author=fugue_state1 link=topic=728.msg5381#msg5381 date=1337108689] Coppola really is listening to and learning from his cinematographer!  That indeed is collaboration of the most fruitful kind. [/quote] generally & ideally that's how DP's and Director's work on set...