Germy1979

I know the ongoing argument for Nikon is how they don't need or care about video.  That's great and personally, if they solved all of our dslr video hinderances with a camera one day, I think the last thing on people's minds would be that it was a Nikon.  They don't have a video department however to seperate, upsell, cannibalize, etc..  Everybody else does.  So it's easy to pin point a companny with a history so respected in imagery, and route for them to save us all.  5 years after the 5D2, there are still needs to be met in the area of DSLR videography.  Obviously, the market is advancing technology to be more and more convenient.  Everything is easily accessible, and aims to take the hassle, legwork, and pain in the ass out of everything.  (We're lazy.)   While there are video-centric cameras in smaller form factors hitting the streets, what do they not do as well as a dslr? professional pictures.  We still have the same shortcomings in dslr video as we did 5 years ago, today.  All i seem to hear about is 4k and how accessible it will become.  I have no doubt they're serious about it now and will push it more than ever in 2014, but it will probably be bottlenecked into good old 8-bits.  Things like that..  So much focus on the resolution and not the quality of it..  Crystal clear stair-stepped gradients in ultra HD.  If Blackmagic never did anything else from here on out, they've blown the door open on excuses.  10-bit pro-res 4:2:2 and compressed raw to an SD card for a thousand dollars.  I'm sorry, I don't know why I'm so hard core about it, but I like options in post and it just seems like a silly thing to keep implementing 8-bit as a video specification for 5 years straight in the hybrids...especially if 10-bit can be done by someone else for so cheap.  It's probably the biggest complaint I hear about the Canon's (aside from the price).  I look forward to the GH4, it looks to have some great specs especially if it has a true 10-BIT output, and not the dithered version of 8-bits they put into the AF-100 in its final stretch.   Plus, hopefully they've made a milestone in the low light department.    It seems like it's been programmed that spontaneity isn't professional filmmaking, and having a no-compromise, all in one camera counts as amateur hour.  A stills camera with the capability of a DSLR that can shoot compressed raw or Pro-res 10-bit internally at the flick of a dial is for lazy wannabe cinematographers?  I say make one and see what happens. 

I agree. The big ticket will be if they follow suit from the first one by putting 2 updated Digic V +'s in it.... Only for the sake of ML however, lol.

Lol "Title"

There are in my experience, maybe 2 or 3 devs that come to mind on the team that seem to represent themselves in a professional manner and give you a sense of comfort when it comes to what they say and produce. Alex and Gheggo come to mind immediately. There are also a handful of devs that know how to program, but don't instill much in the way of confidence. When I had a 6D, the thread for its development would often go freaking binary, and it just started to look like a young smart kid in rockstar mode playing around and talking in code to people who obviously had no idea what he was talking about. I decided to quit before I bricked a $2000 camera. Other than that, the "mature" crowd of ML are basically responsible for delivering the best hybrid camera on the market right now with the Mark 3. A 22mp still camera that shoots 14bit raw full hd. It sucks, because Canon threatened the free world with legal action to protect a $12,000 8-bit camera... the possibilities of the 1DX would've been awesome had ML decided to begin development on it with all of that processing power to work with.

This thread needs to continue. We can work on her English later.

Nikon AIS Contax Zeiss Leica R's   :)

Anybody know what ever happened with the development of that (I think it was called Vector) program?  I don't remember the name of it, but there was an article here a while back on it and how it could emulate resolution.....er somethin...     Kind of a post process that upscaled in its own unique way to higher resolutions without the loss of quality.  ...yeah there it is.   shit.  Now I have to stalk the archives here or it'll kill me.   EDIT:   Here it is:   http://www.eoshd.com/content/9585/pixels-to-be-superseded-by-vector-technology-in-new-video-codec

Awesome review Andrew! I was wondering at the end how long you might have the Kine, lol. It'd be interesting just to see a range test between the 2.5k BMCC and the Kine since they both rate around 13 stops? Noise, highlights, whatever. I'm sure writing a whole review is out but that's about the only thing I would be interested in knowing the difference. Especially lowlight where the bmcc just pales in comparison to the Mark 3 raw.

I don't believe he was being "racist" man. Sheesh. Lol. He's actually pretty spot on. Just picture the bad guy from Sleeping with the Enemy.

I'm gonna have to get back to you on that one. I haven't used PP with my bmcc stuff yet.

I also don't understand the still photographer hate for a video feature, lol. It's a button... Don't push it. I almost picture a still shooter looking at the function dial and seeing the little movie camera icon: "Son-of-a BIIIIiIIIIIIIIIiIIIIITCH!!!!!!!!" Throws camera, flips table over. Seriously. What's the problem?

Resolve jumped onboard with ML raw support. I don't think Adobe have ironed out much of anything on this update other than just basic playback. I've heard several people talk about their footage being pink in Premiere, but I've also had to adjust the tint on ML raw dng sequences on import myself in AE. Debayering... I agree with Andrew though. They need to just add ACR. It's theirs...it works, lol. Pretty simple. AE imports dng's just fine, why not just add it to Premiere?

Amen? A big question I've wondered off & on lately is the difference in performance between say, an 18mp sensor with full readout, vs a lower mp sensor optimized for video? How would that compare in latitude, lowlight noise, iso performance? I know a higher mp sensor bites you when it has to pull just 2 mp out for 1080 video. This whole full sensor readout thing is new to me though. So now we need a Hasselblad with a built in Alexa.

It would be hilarious if this was part of Nikon adopting a "C" line... Just sayin.. Lol "November 3rd 2014. Leave no story untold.... not one."

It's been 5 years since the Mark 2 came out, & it's hard to believe we don't have anything that out of the box is a REAL hybrid yet. By real I'm talking has the stills chops of a 1DX or a D4 and a serious ass video mode that isn't 8-bit. ML raw is amazing if you don't mind the media cost, but I'd be happy with a Prores mode like the Bmcc has. If the pocket cam can do it on an SD card, there should be no problem for a DSLR. I always thought the character and creaminess of the Mark 2 video image was just gorgeous if they could just fix it's issues with artifacts and lowlight. The 1DX looks like the one that actually did it, (considering how muddy the Mark 3 is) -but it's still 8-bit....and so is the 1DC. Basically I'm saying a Canon 1DX with a 10-bit prores 422 codec would be a step in the right direction, lol.

I like mine, however it took me 3 times to get a BMCC that didn't have excessive noise in the green channel, infinity focus issues, rolling wave like noise in the blacks, compression artifacts and banding on the display, or cross stitch-like pattern noise in low light scenarios.  Their support team will work with you until you get a proper cam, but I'm in Indiana and it was $60 + each time I had to send one to California. This is probably just my bad luck though dude.  Plenty of footage online has shown this camera to be more than capable of good sex.  Here's a video I did with it:   http://vimeo.com/70249120   (Aside from all the "film look" footage coming from it, you can paint your ass off with the 12 bit files if you want.  Beautiful color.)     As far as the Mark 3, in my personal opinion, ML raw on the Mark 3 looks better, even being only 1080 most of the time... but that's my personal opinion.  I know it does better in lowlight than the BMCC, and the hack is from what I understand reliable now if you have the right card... and that's the problem with it.  Komputer Bay cards are cheap compared to the others, but they're a lottery in terms of a good one.  The one ML seems to have endorsed as the one to get is the Lexar 1000x series CF card.  A 128gb is $600 new.  That is 25 minutes of 1080 raw on a Mark 3.  I would think anything less would be a pain in the ass.  Plus you need a workaround to review your footage on site, like a Ninja 2 recording simultaneously...because you can't review raw clips (in color at correct frame rate) - on the camera yet.  However, ML raw last I checked was only working on the firmware PRIOR to the clean HDMI update from Canon, so you wouldn't have a clean backup shot.  Just a reference with overlays I would assume until ML update with the new firmware.  (Which would still just be a muddy 8-bit feed in 4:2:2)    Man, I would take a few breaths, mentally put a muzzle on the little guy telling you "BUY NOW!", and try them out first.  Lens Rentals has both for next to nothing on a couple of days.  They even have an ML raw preinstalled Mark 3 with the Lexar cards.  If neither set you off, you've saved for what looks to be an interesting year in terms of what's coming out.     I wish I would've been patient

Man you guys should try Capture One.    If a speedy workflow is your flavor however, it's the scenic route.  It has Cine DNG support.  To me it looks like the best debayering I've seen between it, ACR, and Resolve.  The default denoise setting it loads with does a better job holding detail and removing static than anything else i've messed with.  When you pixel peep up close, you see grain, not mosquitos.  The layout is very easy.  It works with the same concept of ACR for the most part if you prefer that, only you grade one frame, select which frames (or all) that you want to apply it to, and done.  (Every frame is visible as a thumbnail at the bottom).    When i'm done, I export the whole sequence to a new folder as 16 bit TIFF files at full resolution.  I don't use Premiere, so I can't say whether it has the option to import a TIFF sequence like AE does.  In AE however, I tweak, filmconvert, etc until I get the master files, and export Pro Res for editing.    I know, crazy storage whore of a workflow, but Capture One is fantastic in terms of the front line.. especially BMCC stuff.

  lol.  The Alexa is the only camera anyone can rave endlessly over and not be labeled a "Fan boy".  (Who's the elitist dick that came up with that term anyway?)   It really is at the top of just about everybody's "Money is no option" camera list.  So many other options with higher resolution.  The F55 looks about as sterile to me as a cotton ball, I couldn't see spending that kind of money on an image I'd constantly be trying to add character to... but I like narratives.  Everybody is different:)    The C100/300/500 ripoff line actually has a beautifully detailed internal image scaled from the 4k sensor.  That was one thing I couldn't complain about with my C100.  Doing the Canon thing though with the typical 8-bit neutering on the other hand...

I guess I'd have to see what 4k looks like on a 4k tv to know what the hell I'm talking about, but at 2.5k on my computer, all I see is just a bigger image.  On its own, it doesn't look "better" to me than a 1080 image until you downscale it and compare it to a shot done natively at 1080.  Most of the benefits it seems to me, are only beneficial for lower resolutions like reframing, post-stabilizing, better looking HD, and more room to play with FX.  Maybe my mind will change when I stand in front of a 4k tv, who knows.   Arri will more than likely do a 4k cam in the future.  They aren't as balls out about resolution as Red, Sony, and the masses are though.  You look at the character of anything shot on an Alexa and you understand why their priorities are just fine the way they are. 

I'd be all over this if I had a decent laptop:) Which should probably be priority considering the costs of media and offloading.

That was actually crossing my mind since I still have my Ninja 2. It doesn't get a clean feed though because ML is using the firmware prior to the upgrade right? It'd be nice if it had a slick 10 bit output like the Bmcc, because that would be a worthy backup plan for raw. It's still a good workaround for reviewing Andrew. Thanks!

Oh man:) You made this video?! Lol. I had the comment regarding the Alexa and why it just makes everything look buttery smooth. Haha.. The 5D3 is fast becoming my next purchase. Seems like they all have some caveat though.. Not having feedback of what you just shot to me, Is pretty rough with the Mark 3.

Lol. How i feel when I read one of your posts Tony.   http://www.youtube.com/watch?v=_j9qAhXfNAU

4:2:2 is better color than avchd. Raw is basically the best the sensor can do though.