jgharding

Dammit we sent men to the moon! Lols. Yeah it's a big ask, but still. I WAAAAAANT!

You can work with ProRes in Windows Premiere just fine. You can export ProRes from PC Premiere directly, if you install the codec pack from Maraizon. It is worth the 50 dollars. http://miraizon.com/products/codecssysreq.html From these camera options I's use FS700 with external recorder, both rented. The FS700 is a bit piggy ergonomically, but it's still a proper camcorder. BMCC is not, though the final image can be lovely. Speedgrade is part of CC, is a serious grading package, and will handle AVCHD, ProRes, DNxHD and so with no re-encoding. It all stays native and you can swicth back forth between edit and grade with no re-rendering, no round trips. so I'd recommend that workflow. It's called "Direct Link to Speedgrade"

Yes I'd have to agree. Most consumers would take one look at the jello infested out-of-focus video they get from a DSLR and never do it again. When autofocus and 5-axis stabilizers are in every one it may be different. For budding film-makers however, it's ideal cos it's cheap and you can earn the craft. Trouble is, people learning the craft now get so obsessed with tech they don't learn it. Buts that's another story...

I didn't know that! Brilliant, thank you!

This talk of Canon failing has been going on for years, but it just doesn't hold up in reality. They're still the most popular camera manufacturer because they get a lot right, they just don't market to the margins because they don't need to. At least not yet. As far as I'm concerned DXO has nothing to do with the quality of a camera. I find their abstract scores to mean nothing when it comes to actually using equipment in real life. Their criteria aren't aesthetic criteria, they're chart-based scientific criteria, and the tests tell me little about how equipment will perform in production under pressure.

Yes the Red does compressed raw video so its the same as stills. Imagine if Nikon did that... bear in mind pushing Red to its limits in post doesn't look anywhere near as nice as pushing say, the Alexa in post. Here's a great test of usable overexposure for various cine cams, where Alexa takes it again: http://www.cinematography.net/edited-pages/NZCS-Contrast.html That's what 14 nice stops allows you to do in video. Red may be catching up but even the Dragon will probably look far less nice than Amira, is my guess. Sony have a high end line to protect, so the A7s in video mode will not match cinema cameras for dynamic range, they can't really allow it to. Here's how far over you can push the wonderful Alexa and still get it back: http://www.cinematography.net/alexa-over/alexa-skin-over.html When we have this in DSLR we're laughing. Hell, when we have it in any other camera we're laughing! I think you may be able to do similar with 5D MKiii raw but I've not tested. The Alexa's dual-gain sensor structure remains unique though AFAIK.

I've noticed this when using OSX with raw, it must use some kind of cheap and cheerful fast debayering to do previews. Windows just doesn't preview them at all! It's lower in detail and has odd development, but I suppose it's just for a quick preview

That's the same thing you have to do with the C100 too, that's all PSf. Took me a while to work it out...

Unsurprising cash grab, I hope the open-source VP9 whips it

Neat Video is brutally intensive and yes is trying to do it realtime unless you render the red sections in the timeline. I switch it off until final render, I thik that'll solve your problem.

It's probably good enough for what most will use it for, and if you need morte colour you can go for external recorder

I'd rent the GH4 for a week and see if you like the footage. If you do, buy one. Then rent the A7s when it comes out, and see if you like that, making a final decision then. I've said this before, but Sony on paper is always amazing. The reality is often not as sweet.

haha yes the iPhone! In fact now I do review all work on iPhone screen because it's an important benchmark. I also sometimes make adjustments to suit it

Day to day I won't need it. But if someone is paying you for a job and they want ProRes, being able to give it to them is very importan. I don't want to have to use a Mac if I can avoid it. I also use it for archiving masters at high quality but reasonable bit rate. Most clients will take MP4s though, I find. Some want WMV. Odd!!

After playing with this file in comparison to the internal 4K going down to 1080p in post, it's clear the Ninja is superior. 10-bit 4:2:2 makes a difference

I'll try and clear up a few bits: You can edit ProRes on Windows Premiere without installing Miraizon. I have done this many times. Miraizon allows you to encode to ProRes straight from Premiere or via Media Encoder. You cannot do this without Miraizon. Here's an example of it in use: I bought DNxHD and ProRes QuickTime Codecs from here http://www.miraizon.com/store/store.html For the money I can't see a problem with this bit of software. *** On Premiere, yes it's a 32-bit floating-point engine, though you won't always see this in timeline, unless you choose Maximum Bit Depth in sequence settings. As long as you tick the Render at Maximum Depth box at render, you'll get best colour space. If you don't, banding is a lot worse. So tick it! :) The maximum render quality setting at the bottom affects scaling only. Tick this if you've scaled at all in your project. *** I never transcode to an intermediate unless my computer can't play back footage in real time. You don't gain anything visually, as all processing is done in 32-bit. The colour you lost at compression in camera was, you guessed it, lost at compression in camera. Turning 8-bit to 10-bit won't give you any benefit, so if your computer is powerful enough, edit native 5D to RGB did have some arguable benefit, intelligently reshaping the red channel of 4:2:0 footage, but Premiere is pretty good at it all to be honest, so I'd save the disk space and time. Being able to output ProRes from PC is great, as many film festivals and clients want it.

The A7s may have an APS-C mode too. Some corrections/confirmations in bold here: *** Zeiss 85mm f/1.4 [Yes?] - YES Canon FD 50mm f/1.4 [Yes?] - YES Nikkor 135mm f/2.8 [Yes?] - YES Tokina 11-16mm f/2.8 [Yes?] - FF NO (APSC YES) Sigma 18-35mm f/1.8 [Yes?] - FF NO (APSC YES) Contax Yashica 25mm f/2.8 [No?] - YES Helios 44M 58mm f/2.0 [No?] - YES Vivitar 28-90mm f/2.8 [No?] - YES (three above are all full-frame film lenses) Panasonic 14-42mm f/3.5 MFT [NO] Nokton 25mm f/0.95 MFT [NO] SLR Magic 12mm f/1.6 MFT [NO] SLR Magic 50mm f/0.95 MFT [NO] None of the above will work, all MFT lenses. *** MFT on Full Frame won't happen, use full-frame glass for full frame. A speed booster from Medium format to full frame may happen, you never know...

FYI I just bought Miraizon and it works great, I got scared of FFMPEG ;) It allows you to make 4K ProRes HQ, 4444, all the different kinds, in 4K too, right from Adobe Media Encoder. Great tool.

It's weird, because I make $899 to be £535, but for some reason it's actually £749. in the UK. *oh i never expected that* SARCASTIC VOICE Will we ever get a decent deal in the UK?! Between this and the RX10 there are some great premium superzooms out there for video now.

DNxHD is 1080p maximum at the moment. You could try Cineform...

This is cool, it'd be good to be able to make ProRes on PC. Would you mind expanding a little? What would I need for this? Just Quicktime and FFMPEG or any other tools?

It's very good now. You need to put in a few blank adjustment layers before you send it through, for convenience, plus it's best to switch off other grading and effects first too as they slow Speedgrade down. Other than that, once you get over the first couple of hours learning hump, it's smooth sailing. Beats rendering IMHO

I thought Alexa plus was heavy at 7kg body only... Just looked up the Panavision... 27kg!!! Jesus...

I think Andrew nailed it in that they're both good at different things. I've been looking at BMPCC and GH4 as second cameras. hey're so different it's really hard to choose... I'd say if you don't like syncing or fiddling about get a camcorder of some kind! You could sell the 5Diii and put that GH4 money towards an FS100 or a C100, both produce a good image. That wouldn't solve your multicam woes though... Perhaps a Sony RX10 is worth consideration? *** Nice guitars Michael! I'm not classical player myself but I can certainly appreciate what goes into building such an instrument well. I've been learning some fingerstyle too. I also lead a double life! Here's me playing and singing in my two piece band. Well, more having a fight with the guitar than playing. Quite a different style... ;) http://soundslikebro.bandcamp.com/track/less-than-three ***

I'd love to share this optimism, but every single time a Sony camera is announced it looks like the best thing ever... on paper. Yes a 4K sensor can make amazing 1080, like in the Cxxx series.... but will it? With most of their products, when they're in our hands all the flaws and intentionally reduced features come to the fore. They just don't seem to make as 'complete' products as Canon. There are good paper features, but something lets them down... I'm not cynical, I'm just sceptical. or after so many years, perhaps realistic :S The lack of ND filters is annoying too.