jgharding

The fees have gone haywire. A price for listing, even charging for photo hosting (which is free on Photobucket and the like), then 10% of sale price, plus they take a cut for receiving a card payment to PayPal.   Then there's no protection for sellers as you can't leave feedback, so bullying and ignorant buyers are rife now.   Then they pay no f***ing corporation tax despite running their own currency.   *rant ends*

It can be hard to track down footage from this camera to see it in action, so here's a site that does just that:   http://www.bmcc.tv/   Good to see it in use in many situations...   This is only a test, but it looks lovely:    https://vimeo.com/64463112#

I think it's technically possible. I've heard no word on it though. I only use PC and I happily edit ProRes from Alexa natively, for example, so it's not too much of a concern unless you're an Avid user. One of the reasons I stopped using Avid.

I haven't but it looks like it's there on the list. Not cheap at £800 but I'm sure they'd do a remarkable rebuild! I think I'll shoot a few things with it and decide if I want to drop some more pounds. Thanks for the tip!

*sigh*

For some crazy reason, I'm not holding my breath...   Oh, Canon.

I adjusted the collimation ring myself by trial and improvement, but it's not perfect. Still looking for someone to do it...   Another friend of mine had another quote from Sendean for repair. I swear all they do is Google the price of buying another second hand and knock of a few percent, the prices seem to bear no relation to parts o work, so I'm keen to avoid going to them.  

That's quite a lot of pixels! It's toward the end of this video. It'll be obscenely expensive, but you how these things come down in cost...   http://www.studiodaily.com/2013/04/nab-2013-video-astrodesign/   They are also part of the micro-four- thirds group, and make a 4K micro four thirds camera that records up to 60p   http://***URL removed***/news/2012/01/26/Astrodesign_MicroFourThirds   more here:   http://www.astrodesign.co.jp/english/product/ah-4413_ap-4414_am-4412

  Just that people are thinking "I can't handle the hassle", but very high quality rarely comes without hassle of one kind or another.   Quad HD is probably one of those terms that's been dropped, I think they say Ultra HD for marketing now, but that's 3840 x 2160, while 4K was supposed to be 4096 across. But I don't think many of us are that fussed!   Yes that's the bonus, you can pluck the BMD out of the middle of its srig, put a tiny prime on it and run about! Bonkers... I just hope they arrive on time and work properly.

Who knows, maybe they're protecting a new camcorder that hasn't yet been announced... 

Some of the cons pointed out for Blackmagic Camera come from the point of view of casual DSLR shooting, not compared to other cinema cameras, which is what it's intended to compete with in a more budget-conscious manner. This was my thinking when pre-ordering the new Quad HD model.   A practical example:   The other day we were shooting an internal film for a client on Alexa Plus 4:3. Hey, if they can afford it...   The camera weighs 7KG (15lbs), that's just the body. Then you hang a Cooke prime on the front, a pair of Anton Bauers on the back and that's up to 10kg (22lbs) or so. Swap that for an Angeniuex or Arri Allura zoom for exmaple and you're up to 13KG (28lbs). That's before rigging, which needs to be heavy duty enough to hold such weight. As does your tripod.   We ate through eight big batteries in one day shoot, and they are bloody big expensive batteries. Also it wasn't really a full day in shoot terms. For day two we went to a an external tethered battery that was like a massive block of lead, so you have a person carrying that behind.   Does it look beautiful? Hell yeah! But it's not very easy...   The 4K (or Quad HD) BMD has an S35 sensor (it's actually smaller than S35 as most would think of it, but not enough to bother with, and not much more than the F55)  and you should be able to power it for a long time off of a chunky V-lok on a rig. You can then downscale the image in post or in camera to HD. You lose a few stops to the Alexa, but you can buy it for the price of a few days Alexa hire and use it every day til you know it like the back of your hand and you fill up your hard drive. And you can actually run and gun relatively stealthily due to global shutter and light weight. Seeing what could be done with the previous model of cinema camera actually made me think it wouldn't cut to bad with the Arri either.   Compared to picking up a 550D and shooting a friend or the trees outside, sure, Blackmagic cameras seem annoying, but compared to setting up a cinema camera? All the evidence so far from their previous camera suggests you'll get a long way to the wonderful look for less money, weight and hassle. Same for the pocket version, even if you have to rig it for batteries for some projects, I mean look at it, it's the size of a f***ing phone!   If you want to make narrative drama or blocked-out promo that is an amazing thought... you don't need to budget in a load of camera hire... just buy one of these, and that's all your films for the next three years sorted.   Now the new Red may have 6K, but I can't remember looking at a film shot on the old Red and thinking "oh that's not very detailed", quite the opposite, so it's quite excessive right now, and the cost is so high.   Let's just hope the new Cinema Cameras turn up in good time with no issues, after last year's debacle, all of those who have pre-ordered are rather nervous. There's quite a bit riding on these two models...   Now I just have to have a good idea... I knew there was a catch... ;)

This was pretty enjoyable, though of course it's not very in depth for the likes of us.   The thought is mad though, I have a 550D here on my desk. I can shoot my buddy, pop the card out, edit and grade the shot in a few minutes.  That is an insane amount of progress.

I guess a focal reducer is involved, it's in some of the fast micro four thirds zooms.

A vari ND just gradually cools or warms things it seems, depending on the direction you go, it seems.   I've always just adjusted WB in camera to compensate, it's no biggie compared to the convenience.   If I were on a cinema cam with two helpers I'd be calling for mattebox and some nice rented pure-glass NDs.   On a one-man show vari-ND is awesome, I can see this selling well if it gets decent coverage! Front of lens can be so annoying.

Ah I don't have an image here, it's an Angeniuex 20-120 t3, 1972 I think, the mount is pretty easily removable, the type with screw thread and red dot to line up, but it seems as though it may be too close to sensor. curently it's OCT19 for Konvas 35mm, using a Ciecio7 adaptor

It seems to me to be pretty killer.   It's just a shame they haven't been able to make enough. I hope it's not the same for the S35 version as I'm on the list.

  It's not my film, I'm just sharing it because it shows off the camera, there are some notes in the vimeo video.

Almost all NDs have a slight cast, even expensive ones. Some are more exaggerated. The most expensive glass filters exhibit no softness at all, in my experience.   This is a cool idea, I wonder if he will get funded?

I've been trying to preview Alexa Plus footage in Rec709 while editing, using LUT Buddy from Red Giant and the LUTs on the Alexa web site, but no matter what I do it crashes or fails in Premiere CS6.   Is this buggy thing the only way to use LUT in Premiere? AE has a plug-in built in, but round tripping for a look at the edit stage is not a workable system. This seems to be a bit of a shortcoming in the software TBH... a reliance on a third-party plug-in that's never been updated!   The more people use Cinestyle and other log style setups, the more LUTs become useful, this is quite an annoyance...

It may be somewhat over-graded for most purposes, but it's a good push for raw and shows the detail nicely:   EDIT: Please note it's not my work at all, I'm just sharing because it shows the camera off.   https://vimeo.com/58045466

Does anyone know of anyone in London who does vintage lens adjustments? I'm looking to Et an old angeniuex collimated for the mount I'm using... Any help would be appreciated, many thank,

Thanks, I'm currently conversing over there and the current opinion is a back-focus problem, so it's probably too far from the sensor.   ~Still looking for someone to assist with this in London area though... I wonder if someone at Pinewood could do it?

Hopefully as cheap raw or high-quality footage comes down in price it'll get down to much subtler differences between cameras, so you could use any of them, it'll just be preference.

Yes here you go:   https://www.youtube.com/watch?v=4C5SgA9d9gQ   We didn't do the grading oursleves, that was handled elsewhere.   The GoPro 3 blows out easily, the C300 next then the Epic, as you'd expect, so it looks like the graders have blown the others to make the GoPro not stand out so much, so the result isn't too jarring.

  Good form factor and controls by the looks of it, though my opinions are a little tainted by the experiences listed below:     I had the H4n and DR100. The H4n did have better preamps and mics but was noisier. Plus the DR100 is really easy to use and has more sensible physical buttons, and remote control. The H4n was needlessly complex. I still have the DR100... just.   But it didn't sound as nice to me. Harsher top end, the kind of sibilant congestion associated with less-than-ideal AD conversion. Less 3D and more brittle. The built-in mics lose hands down as well. But it's just more practical so it was kept.   As long as this adresses a lot of the previous issues it could be a good bet, depending on price.