jgharding

  That's a low spec these days by any measure. The trouble with mac is just that, you pay through the nose to upgrade. That's why I've been recommending learning Adobe to everyone, so they can be cross platform... being tied to a closed system equals high expense in the long run. Meanwhile on PC tower I've been swapping bits in the same machine for 4 years, and only now do a I need a new motherboard, all the other parts can stay. Just a thought!

Full frame raw though, how amazing! The greatest bit of Magic Lantern yet eh?   It's basically like shooting VistaVision ;) also known as 8-perf film, running sideways through the gate, compared to Super-35's near APSC size.   http://www.youtube.com/watch?v=qgLqb6G1Ihw   I'm so excited to use it on a project, though at the moment I'm kinda stuck to H264 for most things due to speed and low requirements.

I agree H4n is noisy toss. I have Tascam DR100, I've heard the Roland is great.   Edirol R44 and R4 are used on many features and so on, but you need other mics.    R44 is one of the lowest price mixers with awesome features and sound.   My background was years of sound before video, also worked at Sound On Sound for a few years, so like yourself my standards are up.   If you worked in classical you've spoiled by Schoepps and Neumann no doubt ;)   Conversion is a huge factor in the crustiness of portable. Not much can be done for it!

I'd probably pick the Nikon D5200 or G6 out of those. If you're more stills focussed go Nikon I'd say. The video features are great on the G6

  Your biggest gripes using RX10 over XF300 would be possible record-time limit and lower bitrate codec. Perhaps the Canon XF100 would be choice?   Though RX10 is better for low light and shallow DOF. it's all give and take...

I'm really not bothered about 4K apart from for compositing, the rest is good though. If 1080 is even higher quality, great I'll take it!   Unfortunately, retina displays will soon be everywhere and people will want video to match their dimensions... so 4K is kinda inevitable

This was pretty much the response. Brass and so on are best because they're hard-wearing, and they can't be printed at the moment. It's simply not the right kind of material. It was a nice idea though, and if we have adamantium printing in the future then, maybe! ;)

This does also serve to show just how good the FS100 AVCHD is compared to most!

I think the big apple displays are the same panels as the dells, just glossy and more expensive...

I use a Dell U2711, and it's very good

If all this turns out to be true then it's great news, they're taking it all very seriously.   Well they need to really, otherwise they'll be left behind in a kind of neither-here-nor-there space...   So if it's all true, good show Panasonic, you'll make me a new customer I'm sure.

If your camera has an input, the Rode Videomic pro is pretty good!

  Yes indeed, they all copy each other. Premiere CC now has thumbnails in Bridge or browser that scrub spontaneously exactly as you describe, it just gives you other options as well. Media Composer is pretty limiting however because of the plug-in structure, but it has benefits for those working in broadcast and similar.    It is a bit silly as you say for there to be snobbery lines drawn between footage formats. Soon I have two shoots, one is using Red Epics in Redcode Raw, the other using Canon 550Ds! It's all about what's right for the job! I enjoy using both.   AVCHD 28/24mbps does need to die though. No one needs footage that small these days, it's a bit rate from another age, in Moore's Law terms.

That Sofoly clip is lovely, well executed and graded.   It's also flooded with light, we are talking a bout a very very low contrast scene, which does play to a compressed camera's strengths.   It's when you work with higher contrast ratios then the raw cameras wipe the floor with 8-bit squishy cams, it's just a fact   As far as the test was concerned I liked the 5D MKiii, The shadows appear much cleaner than pocket cams for high-contrast scenes, though I agree 100% with Andrew that the 5D colour needs taming, it's extremely rich.

  Sony RX100 or RX10 would be a good addition to that list

I guess Magic Lantern's attitude is that the 1D series just ain't the Volks Wagen, hacking %D makes sense, but stepping up to those super expensive bodies they risk legal trouble.   Raw development basically sold me a 5D MKiii, so Canon shouldn't be sad about that, but I think if a 1D got hacked you may see a change in attitude... because as we've seen, they're pretty much the same thing.

I suppose what you're saying is, for what you do Black Magic cameras make sense.   If you were primarily out and about in the street you may want something different!. Or if you were shooting a corporate talking head your client just wouldn't care about raw and you'd have a footage headache for nothing, you may as well make life easier!   You'll find my reasoning elsewhere here for cancelling my BMD order and going 5D MKiii, but of course it's all very personal, relating mainly to a desire for great full-frame stills as well as H264 and raw, and the focal lengths of my lens collection. As such, image quality isn't the sole deciding factor. Even if a pocket cam had a nicer final image (debatable, they are close), selling every lens and piece of kit I own to swap is not practical, so there are other factors.   what's great is that the BMD and 5D iii are so close. It gives us a lot of options. I can't say I really like the GH3 at all, but then I've never liked any Panasonic M4/3 for video so it's just taste.

You can get dummy batteries for Canon EOS bodies, perhaps you can for Panasonic?

I have an L758Cine by Sekonic for raw shoots. I'm using it with Epics on Saturday. I'd suggest a light meter for all those working with raw video.   The reason is that you will know precisely what in your scene is in an out of the DR of your camera, rather than guessing using a screen or histogram.    The 758Cine allows you to set a mid exposure then profile the meter to know how much over and under exposure you have in a given camera, so you'll know precisely what is recoverable and what's not.   It's pretty ace, though the ;learning curve is more like a cliff.

A brilliant test answering many question a lot of people were asking!   What's interesting is that (as was discussed in another thread) the BMD cams have loads of recoverable highlights, but noisy shadows. This hints at the native sensitivity being placed in an odd place: the cam appears to have huge over exposure latitude, but it looks like the whole range is shifted somewhat...   It's an amazing price for what it does, pretty mad.   Those GH3 clips in this thread may have dynamic range, but the colours appear to turn into surreal plastic in all the shadow-recovered GH3 clips I've seen!

So in other words it's another thing that could have been exceptional, but has been demoted to above average for the usual business reasons...   Since the RX100 Sony have been jacking up their prices too... The RX100 was arguably worth it, but the RX1 and RX10 are very steep.

In the meantime here's some interesting info on 3D printing with metal:   http://www.bbc.co.uk/news/science-environment-24528306

Cool, thanks very much!

Sounds like a great idea! I suppose you'd start by getting the spec sheet of the lens in question and then modelling a mount from that and your camera.   It's need to quite sturdy plastic I should imagine!   Actually I have a friend working for a 3D printing company so I'll ask and get back to you...

Nice one! Do you know where you can get a similarly cheap charger?