HurtinMinorKey

Just get a pair of tungsten lights, and use something to diffuse.  It's the cheapest way to get good quality light. And it won't be too hot if you arn't bumping crazy wattage.

Jaw dropping. It's the best thing i've seen posted in a long time.  No joke. This shit is primetime. 

The problem with this video is that the "problem" focus still looked fucking sweet. In fact, I think infinity focus would look silly in that shot. 

    I use light room so i can edit the stills in RAW, then export them to video with custom preferences. The link below gives you the gist and shows you where to find download the custom preferences:   http://photographyforrealestate.net/2012/09/09/how-to-use-lightroom-4-to-create-a-time-lapse-video/

My guess is that one of two things will happen: RED's compression methods aren't really that innovative, so they will fail prior art(turning a knob from 2:1 to 6:1 isn't an innovation over existing technology) and the patent will be invalidated. Or Sony will prove that their compression methods are substantively different, and therefore not infringing.   And you guys think that patent law is screwed up? It's more like our entire civil court system.

5D-C   Raw, s-35 readout.   No 4K or 60fps to keep it safe from 1D-C   $4,000

The shutter speed depends on the look you want. Shutter angle rules still apply. So if you are exposing every ten seconds, a five second exposure would give you the approximate smoothness of film.   But I don't like time lapses that try too hard to look like video, so i like to use shorter exposures. (<45 degree angle), so for a ten second interval i'd use less than a 1.75 sec exposure. It gives it a staccato look.

If you don't need portability then get tungsten lights. The color quality of modestly priced LEDs just isn't there yet. 

This was relatively short exposures taken every 30 seconds. Normally i'd try and stick to a 180 degree shutter angle, but to do so in this situation would have blurred the scene because of the sheets of snow.   I used a 5D mkii shooting sraw on a 100mm 2.8L Macro. Iso ranging from 100-3200, F-stop: 11-7.1 .   https://vimeo.com/59278065

Interesting list.   http://www.televisual.com/news-detail/Canon-C300-tops-list-of-most-popular-rental-cameras-_nid-2498.html

I wonder how the processors compare on the D5200 vs the D800.   Also, did you mention a RED Epic vs. Black Magic Cinema Camera test?  Sweeet!   Can't wait for that!

^ what lenses have you been using primarily?

I think you can use an interlace..

  11 blade diaphragm versus 9. In a totally different housing. It looks like the cine lenses are legit.   I remember when Jeff Cronenweth  did the promo for the c500, he was asked what he thought the best thing about the c500 was. He more or less said, the best thing about the new Canon cine cameras, is the new Canon cine lenses.   Lol.

To make a long story short....   The c300 uses a proprietary sensor readout that makes it relatively immune to certain visual artifacts like moire and rolling shutter.    As far as bit depth is concerned, a higher bit depth gives you a lot more leeway in post. Camera's like the c300 compress information so that you get a great image out of camera. But this information is compressed to give you the best image right out of the camera. However, when using 8-bit, you lose sensor information that informs what the scene would look like under a different exposure or white balance(which could be considered extraneous).    For example, if your out of camera image reads shadow detail as 100% black, you will only get greys when you brighten it. At a higher bit depth, those shadows will contain detail that can be elicited through brightening.    Does this make sense?

So Andrew, has your love for this camera waned at all since you first got it? Maybe you should write a follow up review. 

They can't be exactly the same because 1D-C IS compressed. It'd be funny(and certainly in the relm of posibility) if Canon started charging $ for upgraded firmware. Turn your 5D3 into a 5D-C!.....for a "nominal" fee . (insert evil laughter)

I'm not sure what I just watched, but i know it's rad.

  It's absolutely crazy.

I like the intent of this article. But it could use some more facts. For example, does anyone actually have knowledge of the rates for 4K(or any) stock footage?

I can't figure out if you were laughing maniacally while writing this piece, or not.

  This suggests that the banding does exist in the 8bit pregrade. In this case the 32-bit grade won't make a difference. 

i think that intelligently sampling from the native 4K mjpegs can reap extraordinary benefits. As long as the native mjpegs don't band, you effectively get a higher bit depth.   

This will take a while to digest, but it's is a badass article.  Thank you Andrew and Friends.    The film is beautiful the aspect ratio afforded to you by the the anamorphic is powerful in its affect. 

Footage looks really good, can you upload the native 1080 stuff on a files haring service? I see some banding in the background, but I assume that is youtube. The skin-tones are amazing.