Bruno

[media]http://vimeo.com/47445828[/media] [media]http://vimeo.com/47583711[/media] [media]http://vimeo.com/47583710[/media] [media]http://vimeo.com/47583709[/media] It's finally confirmed, rolling shutter is a feature, which is weird if they're using the rumoured Beyer Dynamics sensor, as that one has a global shutter mode. If that's indeed the sensor, it would make a lot of sense to use that mode, or even better, have the option to go between the global shutter mode at 24/25/30fps and the 60fps rolling shutter mode it's capable of, but it probably isn't even using that sensor. I'm starting to pend more and more towards the Digital Bolex, at first I thought the BMD camera would totally wipe them out, but as things progress, I'm starting to really appreciate Joe and Elle's efforts to tweak the original camera concept according to clients/community feedback in order to make it the best S16 digital camera possible, whereas the BMD people have pretty much locked the features list as soon as they announced it, addressing important issues like the mount, internal battery, or phantom power as something we "might definitely see on a future model", that's not what I want to hear when buying a new product really. The replaceable mounts, CCD and XLR inputs are definitely a big plus on the digital Bolex, form factor looks like it might be a bit clunky, but of course in the end it will all come down to each camera's image quality. Or some new generation DSLR for 1/3 of the price that will make this revolution even more interesting! :)

[quote name='richg101' timestamp='1344818886' post='15458'] If one guy proved he can crack the decryption, why can no one else do it independently for themselves, going one step further and writing a modified firmware? [/quote] Because it doesn't mean the hardware can take it. You could hack the firmware and tell it to shoot 1000 frames per second at 4k, this doesn't mean the camera hardware would be capable of doing it. This camera has enough heating issues as it is, so yeah "Tested and working" is highly misleading and sensationalist at the moment.

[quote name='kmlo1984' timestamp='1344849071' post='15483'] please tell me what is BMCC and FFD? [/quote] BMCC = Blackmagic Design Cinema Camera FFD = Flange Focus Distance

[quote name='Rungunshoot' timestamp='1344547920' post='15234'] It would be amazing if the camera offered sensor-shift stabilization with little or no crop factor. [/quote] Is that even possible? I'd think any kind of sensor stabilization requires cropping in order to cover what's missing in the borders. Doing it in the lens would be different though.

I'm sure you can keep all your Canon lenses. I really hope the GH3 and the A99 are all we want them to be, but that won't be the end of Canon, it will just mean they can no longer hold off on keeping up with the technology and they will have to step up their game. If anyone has the technology to put up a good video DSLR, it's them, they just don't want to at the moment. Sony and Panasonic could be the ones who force them into finally doing it. BMD won't steal any of their consumer market, any enthusiast would be scared of large prores and raw files, no stills, etc, and those are the people who buy thousands of Canon cameras and make them so much money, the indie filmmakers are a small percentage of their clients. Too many people invested too much on Canon glass and accessories, and even if they're pissed off at Canon now, the moment Canon finally releases a decent Canon DSLR, that's what most people will be getting, unless it happens too late of course.... They'll eventually have to give us good clean video quality on DSLRs and then add value to the high end products such as the C300 with "pro" features such as 4k, RAW, higher fps, xlr inputs, etc... If the GH3 and A99 rumours are correct, this could happen sooner rather than later, and we'd all gain from it. Options are good!

[quote name='jgharding' timestamp='1344433071' post='15140'] So to continue a little, why would a sensor with a 2.3x crop and only 2.5K sensor still appear so 'flat' in depth terms, despite using Zeiss glass (which can produce wonderfully 3D results with stills cameras cramming far more pixels into the same space on APS-C or full-frame) and using so little compression? [/quote] If you're talking about moving image, keep in mind that you rarely see 16mm or 35mm film footage that hasn't been lit at all or that was shot with cheap lenses, like most of the DSLR footage we see these days. Even lower budget 16mm film productions rent $10k cine lenses and light the scenes properly, that's something you don't see much in sub $5-10k digital cameras footage, so yeah, it doesn't look as good...

[quote name='HurtinMinorKey' timestamp='1344364520' post='15066'] Look, it's not terrible, it's not even bad, but it's not what I'd put out there to show off new tech just weeks from the suposed launch. [/quote] You're also assuming this is official BMD marketing material...

[quote name='HurtinMinorKey' timestamp='1344368613' post='15071'] Last time I checked, a three man crew was enough to use a glidecam while someone else holds a reflector. [/quote] Handheld and steadycam are different styles, it's a matter of preference, not an inferior style in any way. If anything, I'd say the wide lock off shots should have been shot handheld too, as they don't cut that well with the rest of the footage.

[quote name='cameraboy' timestamp='1344360969' post='15062'] i dont see how much better dslrs are in low light ... try to shoot raw images( not video) @800 iso without NR and theres a lot of noise .... h264 kills details and noise ...and dont forget small sensors need less light for same DOF ... to get usable DOF in FF sensor u need to step down to 5.6f or more but with BMC 2.8f is more than enough ... and all that super shallow DOF porn is more distracting than usable .... [/quote] I haven't mentioned anything regarding DOF. I agree that this sensor or an APS-C sized sensor are much easier to work with than a full frame one. I personally don't even like the full frame extreme shallow DOF look. Regarding the low light capabilities, try shooting some stills or video on a 5D3 and then on an equivalent film camera...

People should realize that this camera is not going to compete with DSLRs in low light performance, not at all. This is supposed to be a cinema camera, and people will have to light for it, the way they have to light for film. You can't just shoot film the way you shoot low light scenes with DSLRs. This camera will be all about the cinematic look and the higher dynamic range, and hopefully no aliasing and rolling shutter issues. Don't expect it to be too sharp either. The C300 needs to shoot at 4k so it has a sharp 2k image, the RED doesn't look that sharp either at 4k or 5k, and the GH2 also has a sensor with a much higher megapixel count. By shooting 2.5k and scaling down to 2k the BMD camera will probably gain a bit of sharpness, but if extreme sharpness is what you're expecting, you'll be disappointed. Most people will be shooting Prores, since RAW involves a cumbersome workflow that few DSLR shooters will be willing to go through, but Prores should be more than enough for most purposes, and if the camera does deliver in the dynamic range side of things, it will be a huge step up from compressed H264. Pixel peeping will have you disappointed, but that is not what this camera is about. 16mm film is not that sharp and its low light sensitivity is quite limited, especially when compared to present day DSLRs, but still beautiful films shot in that format keep coming out even today (just look at Moonrise Kingdom or Beasts of the Southern Wild). It's all about the cinematic look and the lack of disturbing technical limitations in the image such as aliasing or rolling shutter. Hopefully this camera (and the Digital Bolex) will get us closer to that.

Yes, of course the DOF changes with the sensor size, what I meant is that it doesn't change the amount of light you need, therefore if you need an aperture of 2.8 to shoot a certain scene, it will be 2.8 regardless of the sensor size.

[quote name='rygenova' timestamp='1343449361' post='14671'] The Tokina is an f/2.8; at 11mm it's about a 26 mm f/6.7 FF equivalent. [/quote] That's not how it works, you don't multiply the aperture by the crop factor, the f stop is the same regardless of the sensor size, smaller sensors don't make lenses slower!

[quote name='HurtinMinorKey' timestamp='1343429219' post='14659'] There's 4 days left in July, so yah, I do wanna bet. [/quote] Hey, you said November!!! :) After downloading this video and scrubbing through it frame by frame I couldn't see any jello effect resulting from rolling shutter issues, which is great news. Not that there's any extreme handheld stuff here, but there's some handheld shots where some of the gentle bumps would have been enough to cause rolling shutter issues on my 7D. The vimeo file seems to be compressed at 4.5mbps, which is quite low, and there's a lot of compression artifacts, but I doubt any of those were part of the original footage. Even with this compression, the subtle noise/grain seems to be very pleasant. The resolution is never very sharp, might be from the compression, but as it is it's not nearly as sharp as a GH2, but I don't see that as a negative point, it's soft look is very filmic and detailed. Dynamic range is also hard to tell since I had no idea how bright the exterior was, but for that we have official details, so it shouldn't be a problem. With all this said, we don't know what kind of post processing this footage had, so it's very hard to make any serious judgements yet, but so far so good.

[quote name='HurtinMinorKey' timestamp='1343404799' post='14631'] Who wants to take bets on the actual release date? I'm thinking sping 2013, November 2012 at the earliest. [/quote] Well here they say they're ready to go and could even start shipping in July. Still want to bet? http://youtu.be/mY0aqwflO_8

[quote name='nickname' timestamp='1343397108' post='14622'] i so hope the bmc is good! looks very promising. soft, nice dr, ok colors. only wideangles will be a real problem. the equivalent of an 18mm on s35 is what? 8mm? [/quote] The sensor is not that much smaller than s35/APS-C, i haven't done the math, but to get the same as an s35-18mm on this camera you probably need a 14mm or so. A Tokina 11-16 should be quite handy with this camera.

Don't you think it's still worth it to always get it through 5DtoRGB because of its compression artifacts removal capabilities? Maybe it's not as noticeable on a high bitrate hacked GH2, but the results are quite good on Canon DSLRs.

An ungraded super-35 2k movie film scan doesn't look any sharper than what comes out of a 5Dmk3. If you shoot with a 5Dmk3 using the cinestyle profile, it actually looks a lot like a film scan. Film always needs to be graded and sharpened, if you don't do anything to it, it won't look that great, whereas in DSLRs people demand that the footage looks amazing straight out of the box (which it actually does, considering). Obviously, the 5Dmk3 in video mode doesn't have the same dynamic range as film, but it does respond pretty well to sharpening, therefore I don't see the resolution as that much of an issue, and they sorted the aliasing. Only big issue (for me) is the rolling shutter (and also the fact that I'm not a big fan of the full frame look). Using BMD's camera raw will require a lot more steps to make the footage look good, a lot more hardware and resources too, and some grading knowledge, it's a cinema camera, and it comes with all that that entails. That might be a problem for many people who complain about the 5D just because they need to sharpen it in post.

It's quite noticeable on handheld footage, and it doesn't even have to be that extreme. IS lenses can help a lot with this though, and of course, the wider the lens, the lesser the issue, but try handheld with a 50mm or longer on an APS-C sized sensor and you'll see the rolling shutter stick out it's ugly head. It wasn't a deal breaker on the first generation of video DSLRs, but I'd expect improvements on this (as well as other features) before upgrading.

It can be pretty nasty on handheld footage, more than the skew effect, the jello effect can get quite ugly. To me it's as bad and serious as the aliasing issues on the Canon DSLRs.

http://filmmakeriq.com/2012/07/exclusive-blackmagic-answers-your-questions-about-their-new-cinema-camera/ It sounds like the cameras are pretty much ready and waiting for all the paper work to be finished. As regarding future features, it sounds like nothing had been decided, it will all depend on how well this camera does. I'm curious about the sensor though, there have been reports of bad rolling shutter issues, but on the other hand the rumored sensor has a global shutter mode, so I guess we'll have to wait and see... The EF mount can still be adapted to a lot of different lenses, it's not like you can only use EF lenses.

[quote name='marcuswolschon' timestamp='1343153513' post='14431'] Is 180° still 1/48s if you are not filming with 24p? [/quote] An 180° equals twice the frame rate in the shutter speed. 1/48 at 24fps 1/50 at 25fps 1/60 at 30 fps These are all the same as an 180° shutter on a movie camera. 90° would be four times the frame rate, and setting the shutter speed to the same speed as the frame rate would be the same as a 360° shutter angle. Standard is 180°, but other shutter angles can be used for effect. In DSLRs people tend to mess with it more than in cinema cameras, to compensate for exposure, etc, but in the end that can cause problems with inconsistent motion blur between scenes, etc.

It says the flash comes with the camera. $799 gets you a camera, the 22mm lens and the flash. Not sure about the adapter though...

Film at 3200 ISO would look way worse than that, and it didn't stop great cinematographers from making 100 years worth of amazing cinema history. If you want your footage to look good, you must light it well, there's no way around it, and it's a step most DSLR filmmakers skip right past. I agree Canon is not delivering what they could and should, but the focus should go into the main issues. I'd be glad with this low light performance from the T4i /650D if the aliasing and rolling shutter issues had been fixed, and it had a better codec. The Blackmagic camera seems to be great and I'm dying to get my hands on one, but you must agree that if Canon gets their act together with a new 7D (resolution, rolling shutter, aliasing and codec improvements mostly), it could make spending 3k plus on the BMD camera way less appealing. I totally agree with you that Canon is not delivering what it could, however I still have some hope left :)

I don't really see a problem with them using the same sensor again (if indeed they are). Look at a still RAW out of a 7D and tell me what's so wrong or dated about it. However, it does bother me that they line-skip, and that they keep using the same codec when they have a better one in the 5D already. It is understandable though that they don't want their lower end cameras to be the first ones to deliver better specs, they wouldn't release a 650D that's way better than the 7D, and if they have any big improvements coming, I'd say they'll arrive with a 7D replacement, or maybe the rumored new full frame camera.

It's a great effort, and definitely a welcome improvement to the camera, but it's a shame that it doesn't solve the lack of a microphone jack problem. At this price point, I think it should. It should also help with additional and versatile ways to power the camera. We can't forget this camera costs 600 dollars, buying a case for it that costs 2 or 3x more is a big decision, the features list should be as rich as possible to make up for it.