HurtinMinorKey

double post :ph34r:

[quote name='EOSHD' timestamp='1346092579' post='16626'] The C300 fan boy speaks! [/quote] http://www.youtube.com/watch?v=p6WoXiSUz8A I will admit that I think there is something about the c300 output that looks especially fimic when used properly. If that makes me a fanboy, then so be it. The truth is, from all the sample footage i've seen, the c300 owns the fs700. Think about it: the fs700 was designed to be the Sony F3's bitch in terms of IQ, and that's what it looks like. The F3 is comparable to the c300. Using transitivity, fs700 is the c300's bitch. The fs700 is a gimmic camera.

[quote name='Germy1979' timestamp='1346092304' post='16624'] Lower megapixels gather more light on the sensor because they can be bigger. High-Def images in motion (1920 x 1080p) - are roughly only about 3 megapixels. For example, a full-frame sensor with 10 megapixels would have more dynamic range than an 18 megapixel sensor. The photosites are bigger [/quote] Let's not forget the biggest driver of the video quality: Canon basically determines the video quality (like a setting) after-the-fact to maintain product differentiation. In other words, the video quality is not driven by hardware limitations, it’s driven by ill conceived marketing strategies.

Patent Litigation takes into consideration how innovative the patented innovation was over the existing technology. Normally, a reasonable royalty(what two parties would likely settled on for a licensing agreement) is the baseline for patent infringement awards. This makes perfect sense. However, in the Apple-Samsung case, the damages were increased above the reasonable royalty because Samsung was found to have willfully infringed.

[quote name='Germy1979' timestamp='1346067824' post='16596'] The cinema EOS line must be allocated to the executive bonus department over there, because i would have a hard time sleeping at night knowing i was charging $10,000 more than the rest of my competition for essentially a lesser product.. (C300-FS700).. [/quote] The let's not pretend the image off the FS700 competes with the c300. The fs700 shoots high framerates, that's about it.

That's just fuckin funny.

If you client cares about raw, then they probably arn't looking to hire someone who is just starting out. They'd probably be more scared if you tell them you are using a Black Magic Camera (they''ll think you are into Vodoo). :D I'm talking return on investment. For all the advantages raw offers in post, it also comes at the cost of workflow drag. Plus, being able to do stills really broadens your market. All that being said, if all I cared about was doing video, and getting work wasn't a problem, I'd get a BMC.

I'm in San Fransisco/Cambridge, MA. I travel a lot.

I think the 5D mk3 makes much more sense for an aspiring pro. It gives you the opportunity to makes cash as photographer in between shoots, and is plenty good for most low budget comercial video work. On the otherhand, the BMC seems to be the superior tool for making video art. So if was going into film school, i'd take the BMC. If was graduating from school, and was still looking for a way to feed myself as an artist, i'd take the 5D3.

^Thanks. Your information makes me ask two key questions: 1. So wavelength amplitude implies sensativity? 2. If the ratio you state is true [b] (58,7% Green,2[/b][b]9,9% Red,[/b][b] and 11,4% Blu) [/b]and a determining factor, then why not instead use a bayer-like pattern with a more representative rato like a 4:2:1 GRB ratio? Perhaps tiling on a 2D sensor grid like that is pain in the ass?

Is 80Mbit good enough for an intra-frame codec? It didn't work for the Canon 5D3. But maybe they can do a better job of onboard processing.

[quote name='John Brawley' timestamp='1345887562' post='16458'] All the sparkler shots were with EF Canon "L" primes. A 50mm mainly and a 24mm. The woman with the graffiti is a 50mm CP2. I did actually go to a [url="http://johnbrawley.wordpress.com/2012/08/22/afterglow-dngs-are-out-in-the-wild/"]bit of trouble[/url] to explain it all. jb [/quote] Thanks! Sorry to make you repeat yourself. I guess i'll have to add your blog to my favorites and make sure I read it thoroughly from now on. :)

Interesting, what did you use for the closeups with the sparklers( those were insane good), and the shot of the woman with the grafiti?

^I guess in order for it to be "raw" it (5D-C) would have to be 14-bit too, right? The 5D-C still woulnd't be 4k. Also it wouldn't have the slick sensor readoff like the c300 to reduce aliasing and jell-o. It's probably just wishful thinking, hoping Canon will pull through. Kinda like that time I thought Star Wars Episode I had a chance to be good..... :angry:

What are the chances Canon puts out a 5D-C (@ $4000) with 1080 raw?

[quote name='EOSHD' timestamp='1345845589' post='16443'] A guy walked into my local camera shop in Manchester once and bought a DSLR for his small production company, is he not part of the filmmaking industry as well? [/quote] Only if he has a ASC or ICG card!!!!!!! :P Back on topic. Has anyone tried to import the files into GIMP?

[quote name='EOSHD' timestamp='1345823816' post='16418'] Both are designed as picture making boxes, the BMC being smaller and lighter has the more flexibility with rigging, in my opinion. Hardly a disadvantage for handheld work. [/quote] The weight on the Alexa is distributed front to back, and you can put it over your shoulder. The BMC's weight is distributed side to side. But clearly it shouldn't cost much to get rigging that redistributes the BMC weight so that it's overall lightness works to its advantage.

[quote name='cybervand' timestamp='1345810688' post='16399'] You'll have to get a good set of lenses also if you don't have any. Don't only think about the brain, think about the eyes too. [/quote] And in this case each of the "eyes" on the BMC footage we've seen are more expensive than the camera ($4000 for Zeiss CP). [quote name='EOSHD' timestamp='1345821234' post='16412'] Actually they do - those who think it is too heavy, especially front heavy, and are considering going for a Blackmagic rig for handheld work to save their arms. (The Alexa is not great for handheld work just as Rodney Charters on Shameless) [/quote] The Alexa and pretty much any other camera is much more vertically stable than the BMC. This puts the BMC at a big disadvantage for handheld shots. But with all the money you save you can buy yourself all the stabilization equipment you would want.

[quote name='EOSHD' timestamp='1345756989' post='16330'] HurtinMinorKey did you watch the footage on a 2.5K display? Makes a huge difference over 1080p. [/quote] no, but I watched it 1 for 1 on 1080, and was still impressed. I need to see some more, but I'm slowly becoming a believer in this. Also, the c300 is one thing, but anyone who thinks the 5D3 can come anywhere close to this is nuts

^Doesn't it look to you like they added film grain to the BMC "raw" output? I will say this, these newest clips are pretty impressive.

^whoa there fella. When was the last time you looked at something shot on the c300 that wasn't compressed for the net? Let's not go crazy just because you've been staring at raw footage all day.

[quote name='EOSHD' timestamp='1345750824' post='16313'] Besides the sensor in the Blackmagic is hardly what you'd call small chip. [/quote] Comparing active areas for the video crop it's about 20% smaller than the gh2. But i agree that shallow DOF was a gimmic, and the most recent BMC footage is impressive.

[quote name='jgharding' timestamp='1345650434' post='16214'] Roll on medium format video! ;) [/quote] Amen to that. Plenty of support for 70mm. What's the big holdup?

[quote name='andy lee' timestamp='1345656952' post='16228'] [url="http://www.eoshd.com/comments/topic/983-john-galt-the-truth-about-2k-4k-and-the-future-of-pixels-everyone-should-read-this/"]http://www.eoshd.com...ould-read-this/[/url] have a read of this thread I started last month [/quote] I've read it many times. I want to know where the science of human sensitiity to different colors of light originates.

jcs, you don't even have a chance to get sharpness like that unless you are using Zeiss cine-primes too. "Incident on Marmont Avenue" was shot with the Zeiss CP, and it's got nowhere near the detail of the above BMC footage.