Leang

  I said the exact same thing about the Fisher Price BMCC toy.  filmmakers today are far more liberal!  :P

  I agree about the lenses.  Nikon FX format will eventually adopt to 4K video.  and in about 2-3 years we'll start seeing 4K on APS-C consumer, and as others mention determine "true 4K" marketing.  Nikon just announced AF-S NIKKOR 800mm f/5.6E & free teleconverter for 1000mm f/7.1 -  serious glass for later 4K FX!   B)  

  Blu Ray upscaled to 4K?  on what 4K display?

  I think it's great that it's $3K.  But shameful marketing tactics for a Fisher Price designed product...  

  I don't know how satellite licencing and sharing works during events like the upcoming World Cup, but Japan's on it for next year.  so we'll hit this thread again next year and lets see which countries other than Japan is also receiving a 4K exclusive feed?  who knows maybe some other parts of Asia are going to want to compete and also try the same.  I don't know.  maybe ''mainstream'' was exaggerated but what I meant to say is that any home owner with a 4K set should be able to benefit from the 4K stream.  what I'm curious is about is the protocol.  I imagine Panasonic's next 4K cam to be marketed for broadcast and not so much film.  I would first like to see Panny introduce an S35 cam.  I imagine... 4K cams on site at the World Cup, transmitting to Japanese satellites, and hitting 4K sets.  Might be a private network, govt channel, who knows.     regarding which countries are on the ultimate standard atm I don't know, but every 1st world country has its rural inhabitants.  let's bet all of them have flat panels or HDTV?

  would be awesome to see a Nikon hack since the current FX series auto crops with DX lenses.  Full HD on either scale

  Yes it's not July 2014 for mainstream Japanese 4k broadcast.  You asked what's in ''real life.''  So you got a ''real life'' answer.  You have to acknowledge that those with a 4K practical camera currently in their hands and a 4K platform to publish and sell  (in the broadcast world or  ''real life'') is already in effect.  I think another problem is that there are two roads, a pro market for 4K cinema projection optimization, and the other for general home entertainment.  different protocols, different markets! 

shoot something at 480p wide, and 1080p.  render each one respectively, 640 x 360 and then 1920 x 1080.  replay on monitor that is Full HD (1920 x 1080).   for the 1DC, shoot something Full HD and then 4K.   render each one according to their resolution.  Replay both shots on a nice commercial ready 4K tv or full size pro monitor.   see if you see a difference and with a pro grading specialist at the side of you.  realtime upscaling for a market to come is the reality...not so much screen grabs and blow up.   I can't even grasp the future quality of a mainstream 4K bandwidth stream hitting TV's in Japan next year.

  Well in "real" life, on the Asian side of the world, the wealthy are already rocking 4K televisions at a consumer level.  The problem is that the western part of the world forgets where most of our practical electronics come from.  Japan & China are different at so many levels.  "Kiyanon" (Canon) 1DC can quickly publish 4K projects for private network broadcasts or select news channels.  & by July 2014 Japan will already start broadcasting 4K mainstream.  the same way HDTV was first introduced... you either had a build in HDTV converter or you had to buy the box separate - just around when Plasma displays were coming out and high priced.  Another reality is that no one really has a broadcast 4K TV to test results from a GH2 to a 1DC and 4K lenses.  Up-scaling algorithms is something to see in time.  heads with a  4K monitor should shed some light on a GH2 vs. 1DC and describe the resolution.  I'm leaning to bet the 1DC would look superior with 4K pixel spread

I've had great results with D3200 (Nikon sensor).  the D5200 (Toshiba HEZ1) has better ISO handling than the D3200 so this will be interesting.  especially for all you anamorphic lovers.  There are D5100 + anamorphic vids around.   I have a Black Magic Hyperdeck Shuttle that I haven't used in a year.  I'll probably start using it with my D600, but the b-frame compression holds up pretty nice at 24mbs.  haven't been bothered to find some solid SSD's for my Shuttle anyway.  Waiting for the Nikon J3 as a B cam...  2.7x crop for a Sigma 300-800 f5.6 would be a sweet ass ELS.

  always thought Mifune as the Deniro and Nakadai the Pacino.  Lucas and Coppola have dedicated much of their work to Kurosawa, and you can see it in some of their film aesthetics and choice.  I think the story goes that Twentieth Century Fox owed Lucas a favor from Star Wars and so they helped Lucas help Kurosawa with budget.  In the end everybody won.  I mean Lucas and Coppola believed in Kagemusha so much Kurosawa went on to win the Palme d'Or, which is a particular goal for me or any filmmaker.  

this thread made me so happy.  I cried.   :wub:   

to be honest the nature of DSLR A/D conversions via Line-In are always poor.  It isn't a priority for Canon, Nikon, or Panasonic to make pro level sound for their built-in mics.  The built-in mics already have to deal with onboard sound noise let alone the real external noise.  Therefore, don't rely on the extra accessories from these companies like Panasonic.  Zoom are ok, they mainly started as the cheap alternative in the music sector for external compact mixers and recorders, like a lower version of Fostex.  Furthermore, Zoom sound quality isn't transparent.  If you want to stay solid and future proof invest in a used Marantz recorder.  Their preamps are low noise and decent.  I use an Olympus LS-100 as ambiance or even general external sound, but for booming get a Rode NTG-3.  There as good as any industry Sennheiser, but way cheaper.  Ironically Sony is the only company that provides amazing sound even in their consumer products.  The dolby surround from the NEX VG series is amazing.  Spend about $600 at least in audio in quality gear.  you won't look back. 

Turkish television is serious business.  I kid you not, the average ''primetime'' television runs about 90min minimum to sometimes 2 hours just for one episode.  Crews have to shoot everything within unorthodox scheduling that if practiced in the states there would be heavy rebellion against producers.  this is the case now in Turkey, and many actors and crews have literally protested against the tv networks.  The best shows use Red or Alexa - the middle weights use Panasonic or Sony ENG cams.  The reality is that there's no creative time for grading TV shows.  There's just never enough time.  Blame it on the producers.  A BMCC in the mix would be out of the question.  HOWEVER, indie films here are a whole different ballgame and conform mostly to world standards.

  Of course it's not a gimmick.  I recall you not having any interest in ''slow-mo'' during the introduction of the FS700, despite standard industry use since its heyday.  yes, overcranking has been an art long before we were born.  Kubrick ring a bell?  Bladerunner?  Brian de Palma....and my personal all time favorite, Mr. badass Kurosawa for the ''Seven Samurai.''  as I said before ''slow-mo'' helps any shot/scene if the Director intends to innovative the fiction during the moment.

Canon 1DC & 8mm, H. Chretien Baby Hypergonar anamorphic lens   http://www.youtube.com/watch?v=jDnM-HBb4E8

I wish the m43 version were out.  the Speedbooster marketing seems to favor the APS-C coverage to full frame. So I'm assuming the m43 version is just a traditional mount adapter for almost benefiting full frame coverage?  I mean better than nothing.  or will the m43 version be calibrated differently...

ok, fine, sorry, I surrender, everybody...GH2 anamorphic 4 life!  nothing else matters.

thanks for the comparison, John.  Do you own a FS700?  Do you have a premature conclusion for these two neck to neck now that there's the Speed Booster?  I think the BMCC with the MFT booster is going to crack some skulls, BUT I would definitely love the option for slower frame rates.  S35 protocol is more than enough for me as I plan to rent out various industry cine lenses.  I'm really concentrated on the Sony F5 atm, and just its brand alone has great resale value where I reside.  I'm really looking forward to XAVC.  100mbs 4:2:2 is more than enough for me since I get good results "uncompressing" 28mbs H.264 MOV

B)

  just ignore it then.  you don't need to defend anything.  that's why this forum is fun.   if people ignored what critics said and just went on to see a film anyway then there wouldn't be a need for critics...

  seinfeld zeinfeld frazier frasier anamorphberg etc.. all the same thing. =P      Frazier lens being good just for wildlife!?  Are you kidding?  the Frazier lens changed the industry in Hollywood.  I don't think you know exactly what the Frazier lens has done or even grasp set design benefits.  

this article disappointed me.  some of the ADR sounds bad, especially the protagonist's.  some framing looks awkward, like where the cam is placed.  I guess a set of LOMO's like these could've been fortunate for a better production & acting.  but I do like the acting from the guy in the office giving him advice.  I would like to see an article on some indie boys doing their best with a Frasier lens.  I would so love to rock a Frasier lens than to worry about anamorphic!   nowadays just getting proper acting is so dodged indie kats are only focusing on technicality.  nobody ever talks about acting around here anyways...

what exactly are these webisodes you have to do?  I'm assuming these "webisodes" aren't related to the stuff you had planned for your BMCC.  seeing the popularity of youtube content, even a "high end point and shoot" camera would do fine.  or even the best camcorders under $300

Good for you. did your store provide you with a 30 day money back guarantee or a restocking fee? I think Q1 and Q2 are weird times to invest in 4K. However as someone had mentioned shooting 4k for stock footage commissions is not a bad idea. slow mo is underrated. 60p minimum at 4k.