jgharding

From my years in audio, PLL is phase locked loop, and in short, it's a way of removing noise (as in junk data) from conversion stages (analogue to digital, like light to digits or electrical signals produced by audio into digits). I assume its the same here...

Believe it or not, the lack of compressed RAW on the original BMD was one of the things that stopped me ordering it! The files are monstrous.   Granted, these will still be huge files at 4K, but if we can switch to 1080p mode this solves all the issues I had with first camera: sensor size (rethinking all my lenses would be a chore) and RAW compression. I take 4K to be a bonus!

Indeed, even at 6:1 RED looks awesome. I wonder if this BMD has an efficient wavelet compression as well?   F*** it it's even good at 10:1!

  As well as that, it'll just be built into everything and unavoidable! I had a client yesterday asking if they should make a video for ipad 3 to the exact screen resolution! I told him to go for 1080p, but it's that kind of thing that will eventually force delivery resolution upward.

Basically, make sure that the funds are available in the account used to pre-order from the date of the delivery (July) but realistically it could be up to a year before it arrives.   Either way, I just saw it does 1080p as well, which is awesome, as many (most) things don't need 4K capture. This thing is gonna be awesome!

I used a guest too I think, if you give them a ring they'll let you know though, I'm just between shooting auditions as I type so I won't be able to do it for a while today...   EDIT: I just read above, looks like they're deflecting flak, I don't blame them!

http://www.youtube.com/watch?v=HY-03vYYAjA

I've successfully pulled keys off 48mbit 8-bit H264 Canon EOS with a little playing, I don't think you'll have trouble with lightly compressed RAW!

  If you mean the other thread, that was about 4K for consumers, not capture. For capture it's pretty useful, but it's always been very expensive.   For consumers/delivery it's kinda pointless now, unless retina displays on everything become the norm, and even then it's overkill.   Of course I remember saying the same about HD 5 years ago...

 ..

None of them are really that much of an "upgrade" so to speak, they're just different. The 60D just ain't as good IMO, the 5D MKii is pretty similar yet a different beast to handle (the screen is much worse for example) and full frame, and the GH2 is a very different look again. It's much more detailed and sharper, but also carries a more video feel (also IMO) so it depends what final look you want.    I was looking at this list for 6 months or so. I love the old Ken Loach 16mm British 70s look if you get me. In the end I just kept the 550 and added a Mosaic Engineering filter. It's not cheap but did the trick removing the aliasing (which gives away the digital feel), with the Magic Lantern hack (zero sharpness and 2.8x bitrate) and some of Grain 35s 16mm overlays in post and there you have it, 16mm look.   16mm is pretty soft and grainy, that's why it's so nice ;)   The new Blackmagic Pcoket Camera would be upgrade in image quality though, though you'd have to think about lenses.

  This made me laugh, just the image of standing surrounded by Blackmagic cameras and pulling your hair out! WHAT DO I DO?!?!   Actually I'm the same. I'm on preorder for 4K, but quite tempted to switch the the little S16 cos it's so tiny and a LOT cheaper... but then I'd need more lenses for the smaller sensor... but with the BMD I need external battery and SSDs aRgH!

This is standard practice in mobile phone land. It was always going to come to the cameras!   Everyone sues and counter sues. I remember seeing a huge spidery chart somewhere...

10-bit is good for me. If it's 12-bit, then bonus.   Cinema DNG compressed is still full data, just zipped up clips AFAIK so it's lossless. Should be no more lossy than zipping and unzipping a file.   Dynamic range is a question, but if I'm choosing between no jello RAW S35 with post white-balance and insane colour adjustability  and an extra stop in rolling mode with some H264 DSLR... well...   Bear in mind that the DR of most SLRs in video mode is only as quoted when using flat "profiles" squeezed into a heavily compressed codec. Compared to RAW it's not really the same thing as Cinestyle of Flaaaaaaaaaaaaaaaaat or one of those other similar methods.   If they could implement a choice between rolling and global, that'd be even better, though I doubt it what with hard and firmware requirements.

Well after endlessly waiting and being stuck with a 550D for years and years, with everything else being non-standard sensor size or low bitrate or not much better and so on, I finally preordered a different camera!   4K S35, RAW or ProRes.   I look forward to a years time when I get it.   EDIT: The M4/3 version was indeed an error. I'm sure the other option will be PL mount of some kind.

  At this moment, you can't... keep an eye out though.

I don't think in terms of full-frame personally, I've only really shot with APSC and S35 at great length, so when I "see" 50mm in my mind I "see" how it looks on a so-called 1.6 crop.   If you're talking about stills, then fine it's 3x.   If you're talking about film, it's a 2x crop, and Super 35 is standard.    That's how I see it anyway, 135-film size shooting (photographic full frame, 5D Mkii, iii and 6D) is a special case and special use (very low light, very shallow DOF). It's a negative crop of x0.6 or so.

I preordered the S35 one at CVP. Having seen how long it took people to get theirs, I figure it's best to stick the order in and just cancel if I change my mind! You have about a year-long cooling off period ;)

No worries, there may be a more efficient way, but that should work...

Perhaps run a duplicate layer or two of the edit above the keyed one, and garbage matte out all but the logos.   Do any any master grading on an adjustment layer above all of them...

It's awesome, I'd definitely hire it, but not buy for now. I hope it hits hire shops., and they can keep up with demand, and also that it's robust enough to be a hire-shop regular.   Plus eventually they'll be cheaper, which is good. I like tripods and handheld, but I;ve always hated the necessity of rigs and steadicam for large sensor rolling shutter. I miss running about like I did with the Sony Z1.   Hopefully this could make all that easier as time goes on.   Nice NAB news :)

Haha yes this is very common with lenses, it's happened to me too.

Oh yeah I forgot you were talking about a 60D. No it wouldn't. But you could use it to set a shot. I did this when I has a Sony RX100 and it worked.

You could use autofocus with a taking lens that has internal focus (set the anamorphic using its distance scale, then autofocus the taking lens)

These look the same as Mollers, and you got them for a steal. They're sharp if you set them right. Diopters below 5 feet i think.