cpc

Andrew, c500 raw isn't clipped, clipping would kill a few of the darkest stops. It's C-log encoded into 10 bits, similar to how Arriraw is LogC encoded into 12 bits. This preserve all the tonal resolution in the darks but compresses the extreme linear tonal resolution in the whites. A neat way to save a bit of space without any noticeable loss of quality.

Rental cost (and target audience) will probably be similar to Alexa 65, so unlikely to challenge regular Alexa/Mini/Amira status as the industry darlings.

The Odyssey 7q/7q+ update for FS5 raw hasn't been released yet; coming (very) soon apparently.

False color probably targets the built-in display, but the new gammas should be handy for monitors and EVFs. The Bolex Log in particular should play well with monitors with LUT support. I don't know if it is possible with this camera but simultaneously having false color on the built-in and one of the gammas on the hdmi out sounds cool.

Funny that you say that. I think this camera only makes sense with an EVF, so these new monitoring related additions should make perfect sense.

Looks like a great update. The introduction of Bolex Gamut and Bolex Log should make it easier for the Bolex to be considered a serious tool.

I think the counter to the trend of endless repackaging of other peoples' content, reviews, tutorials, whatever (NFS style) is producing well thought out and researched stuff which doesn't address specific cameras, rather discusses concepts. It certainly takes way more time, but the result is arguably more valuable. Back when I was occasionally posting stuff on my own site it would take around up to 2 weeks for an article (text + illustrations). Now obviously this isn't viable in a commercial setting, but it does attract a certain kind of audience. And I'd argue it's the better kind.

Does anyone know how's RS in 3K on the 6K sensor? Same as 6K or faster?

Unnatural is part of the appeal. These days you don't shoot 24p for naturalism, on the contrary. Many TVs have a 24p mode, so do some graphics adapters for PCs. Of course, it is best to have choice. Dogmatic obsession with an acquisition framerate is as bad as any other obsession. Also, in Europe a lot of cinema is actually shot 25p because movies also go on air eventually, and pretty much all relatively recent DCP servers handle 25p fine (and 30, and 23.97, and 29.97 for that matter), so there is no need for speed canges and resampling audio.

Probably not a good idea to look at 5" for focusing. Most focus pullers will say 7" is small, let alone 5". 5" is more of a framing aid.

3D is terrible in traditional 24 fps. 2D and 3D are very different forms and translating into 3D any affinities cultivated from 2D makes no sense. While I mostly don't care about 3D, HFR at least makes it bareable and not just a mess of motion artifacts striving to look "real". I wrote this a few years ago, when The Hobbit's HFR debate happened: http://www.shutterangle.com/2012/why-48-fps-is-good-for-3d-movies/ In this context I can only applaud Ang Lee's perspective.

He says 4K. That makes the GH4 the only contender.

I think there are still some patents involved in Cineform for encoding outside of the Cineform GoPro installation codecs, even though it is SMPTE standardized. DNxHR in BM cams is probably a more likely development.

It certainly isn't Apple's fault. Users demand QT native codecs like ProRes, camera manufacturers listen to them, and software vendors follow up by integrating QT. DNxHD/DNxHR is essentially the VC-3 SMPTE standard and plays very well with another SMPTE standard -- the MXF container. Cineform is also a recent SMPTE standard (VC-5), and defined for MXF wrapping. It's not like if ProRes+QT is the only player in town.

Raw DR is more or less the same. Let's just say that FS7 raw is processed in such a way that it uses around 1 bit less than a FS700.

You don't need an interface unit with the fs700, only with the fs7. Fot whatever reason there is different processing on the FS7 raw. FS700 raw is denser. FS5 raw better be similar to the FS700.

Some cameras have power out from the camera: Bolex, Sony f5/f55/fs7+XDCA, etc. I imagine this will play nice with these. An HDMI option would be nice though. Also, Zacuto last gen EVFs have 1:1 setting, so seeing a pixel perfect image up to 1080p should be fine. They don't support a 4K input, so even if it was a 1080p display you wouldn't see the 4K image.

I got the Minolta TC-1 for a pocket camera a couple years ago. Probably the best camera purchase I ever made. Ultra pocketable, exceptional 28mm lens, spot metering, full frame (:P). A joy to use. Not cheap though. Between the TC-1 and the Fuji Klasse S I am seriously playing with the thought do I even need my Contax G2, Zeiss Ikon and Leica R when I almost always reach for one of the compacts.

1.7gbps means it is compressed internally while recording. Uncompressed would be starting at 2.4 gbps for 24p and going up with framerate. But I get your point - you are looking for lossy compression.

You can choose uncompressed DNG or losslessly compressed DNG when you export the footage. Their lossless implementation is far from optimal, but it's there; around 1.6:1.

Well, 30 minutes is almost 30% more than 23 minutes which is a significant difference when footage starts to add up. It is certainly another story for oversampled video (i.e. 2K from 4K or bigger sensors), but for full sensor resolution shooting ProRes444 is usually a handicap in terms of size. With the push for 4K that's happening now more and more cameras are recording (near) full sensor resolution in ProRes without any real benefit other than no need for raw processing.

ProRes4444 is significantly larger than Red raw 3:1 for the same resolution and framerate. In fact, ProRes4444 is larger than pretty much any lossy compressed raw codec out there, and this includes Red raw, BM lossy CinemaDNG raw, Cineform raw, etc.

5dm3's raw image is gorgeous. The fact that ML has tools missing in much much more expensive cameras (or any camera, for some of them) is the icing on the cake. The only substantial advantage for the A7sII would be its sensitivity, but for controlled shoots - 5dm3 all the way.

Picture Profile OFF is not a mode. This a setting that turns off picture profiles and uses whatever creative style is active at the moment.

I am sure the PIX-E is great, but this "explanation" is some hilarious BS.