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I can't tell if this makes the a7s3 more or less likely. It is pure marketing not to include 10 bit and higher bitrates. But does it mean the r series will never get serious video specs, or the whole alpha series will never get it. And that the a7s was a mistake like the original 5dmkII and the video will never get beyond that. Not unlikely scenario. So if an a7s3 comes all it'll bring will be 4k60p 6k30p 10bit and 400Mmbit h264? Sounds likely for Sony now that we were told to expect an explosion today and all we got was a 20mpix upgrade. Not that I am interested in any of these cameras. I just hope that raw on nikon z will be good so I don't have to get the sigma.

My hackintoshes were always a pain to set up, but once they run they run. Just NEVER update the OS! :-) my first one was going for 5 years straight without any issues, upgraded cpu and OS last Fall, no problems since. Extremely reliable. Running an 8core xeon and a gtx780. can play 4k dngs in 24p in resolve. Basically the performance of the 2013 mac pro for very cheap. That's all that I need. Am still editing prores and grade in raw later.

The A73 is the first and only mature MILC. That is reflected in the sales. And it is mostly bought for photography by enthusiasts. Using tamron lenses my guess. Would be interesting to see sales numbers for lenses, that could be more telling. I think those are the numbers that canikon are looking at. They are lens makers after all. Unlike Sony who are makers of electronics. Nikons problem is that nobody who bought a nikon in the last 5 years for photography will get massive upgrade from going MILC. their dslrs are still sufficient for the casual shooter. Simply no need to upgrade yet. Another 4 years maybe.

So where is that raw announcement?

i dont think canon cares what nikon does. nikon did it because they have nothing to loose. canon care more about their eos line. also raw is not that of a big deal for most. a good compressed codec, fast turnaround, thats what most want. and thats what canon is good at. but i was wrong on panasonic going fullframe, so maybe i just lack imagination...

i dont think canon will give anybody fullframe raw with dual pixel af for 2400€ even if its only 1080. tweet was a typo, now they fixed it.

hi andrew! thanks so much for the material and your efforts. to me it seems like the creamy look you describe has more to do with the lens used. but i have to say i really like the colors of these FF panasonics. neutral but not clinical. all the daylight shots i have seen so far had a very realistic feel to them without beeing just technically right. there´s something about the contrast and the colors the camera produces that put me in close contact with the images, they involve me emotionally. hard to put in words, but somehow theres a nostalgia in them like they were aiming their color response on a film emulsion where the shadows lean slightly towards blue. good to hear your´back, can´t wait for your upcoming comparisons. i´m in the market for a raw camera and am very curious about what nikon can achieve with prores raw. it will be more expensive than blackmagic, but if its a nice image i´ll go that route i think. do you by any chance have a BMCC or BMPC4k lying around? i´d love to see a comparison between those and the pocket 4k. i really like the texture and grittyness of the older blackmagics but i hate how they handle and how the image can fall apart if you are not careful.

Andrew, I'm impatiently waiting for your pocket4k review! Can't wait to see what look you get out of it! 8k should give us nice HD, so why not!

respect andrew! it takes a lot to admit to a mistake, even more so publicly! i know you get a lot of abuse for putting your honest opinion out there. amzing work over the years, please keep it up! i come here regularily for your opinion which is usually against the grain which i enjoy!

so calling out sexism and racism and connecting it with eurocentrims is peronalizing things? a post that starts with excusing sexism is useless no matter what arguments follow.

is it your british upbringing or a personal trauma that is responsible for the sexist and racist bias in this post? where is the connection between the sexist joke in the elevator, black panther and Lars van Trier? there is none. it is all very differnt things. the only connection are your own white boy tears. this post shows what you are made of and it is a little sad. i feel sorry for you that you expose yourself in this way on the internet. i know another person who would argue in the same way as you. currently he´s president of the united states.

i think you are reading the the list of cameras in the tribeca film festival wrong. if any companies should worry, it´s sony and panasonic. the F5/55 can´t even challenge red. if the GH2/3/4 offer superior video quality to canon then, where are they? (damn the color science, damn the FF look, damn using eos lenses natively, damn the marketing strategy!) you, the writer of this blog, are wealthy enough to own a 1Dc, next to numerous other imaging devices. so for you to whine about canon is as hypocrite as taylor swifts whining about apple paying her a couple of millions less this year.

hi andrew, great work as usual! what lenses were you using for the 1:1 crop? sorry if this has been asked before, but there´s 18 pages of comments already...

my switar 10mm 1.6 vignettes quite strongly on my j1.

i think the ikonoskop looks more cinematic to some, including me, because of the higher black levels. in projection film never had as low blacks as digital. this makes the image look less crisp and adds to the nice filmic softness. the grade of the bmcc with the dark blacks seems to swallow information in the shadows, while the dark greys seem to make the iko image richer or more balanced in information. so maybe it´s also a question of grading, of not bringing down the blacks as far as technically possible but to go for a slight grey tone that gives me the impression that i could look into the shadows if i wanted to.   great comparison! thanks!

looks very nice. the only thing that bothers me is the rolling shutter at the boxer. in his left right movements his head looks kinda wobbly. probably pronounced by the slow-mo.

    it is true of course that the difference between ff and crop sensor is small.   but it would be fun to do the experiment. some medium dof shots, some interior, some exterior. probably i will fail!

somebody has tested it:   http://www.lensrentals.com/blog/2013/01/metabones-magic#more-11888

thank you for this very informative test andrew.   but don´t be fooled. you are not getting a ff camera, you are getting a wider lens, that´s all.   a crop image with the same dof as a full frame or medium format will always look different. that´s why people shoot hasselblad. because the physical size of the sensor defines how space is rendered. it has little to do with the lens or that actual focal length. a large format shot at f64 with everything in focus from 1 meter to infinity will look very different from the same shot on a smaller format with the same dof. i can´t tell you why, but my eyes tell me. the larger the format the more "relaxed" the image looks i think.   also a lens is a complex system where each component is produced specifically for it. the same glass for every lens out there doesn´t sound like a great idea. that´s probably why nobody really did it yet. andrews great test shows it. works for some, for some it doesn´t.   i´d rather get an actual 35mm on s35 if i want the angle of view of a ff 50mm. especially if i have to stop down anyway for the same corner sharpness.   the added stop in sensitivity will come in handy no doubt, also for wide angle on the bmc this might be a blessing until someone builds fine lenses for that format (if it will survive the next 2 years.) but it is in no way a game changer.

am i just not understanding it? is it not just something like a fixed zoom lens? or lets say similar to a 35-50 f2.8 to 4 zoom but just to screw on? in the end the physical sensor size doesn´t change.   does it really create a ff image on a crop sensor or doesn´t it just work as a wide angle converter? or is the same? if it is i´d like a medium format to f-mount speed booster please! that would be really revolutionary. and would save me 30.000 for a H4D! there must be a catch why nobody has done that so far. there is hasselblad to nikkor adaptor, but withoutbthe glass.

this film is completely misunderstood! it´s actually a brilliant satire! it´s a bad taste version of spaceballs! he´s even mocking digital cinema and cgi with the video look! brilliant! and the hollywood neo-cons with his facist undertones! ("there i saw someone i could follow!") and he smuggled in some fast forward scenes right at the beginning! (bilbo getting his letters is definitley running too fast, that´s not just 48frames look.)   3d really has bigger problems than frame rate, but it is the easiest to tamper with. the polarized light technique is rubbish. the filter glasses take away too much light and contrast and give a horrible greenish tint. the material has to be oversaturated and the dr compressed so strongly to compensate for what the polarization process takes away. if these where the shadows and highlights that  the epic actually produces nobody would work with it. fast motion still is disturbing. i felt nausea more than once during the show.   high framerates have until now been used for effect and that´s where they belong. but then that´s what the hobbit is, one very long effect sequence.

i have graded some ikonoskop shots last year and was deeply impressed by its 16mm film like quality. there was only something strange with red tones, a magenta hue that was difficult to deal with. it´s visible in the red vs ikonoskop clip posted above. slightly exaggerated reds. but otherwise very close to a filmic tonal response. closer than anything i´ve seen from bmcc so far. looking forward to your test footage!

don't get me wrong. am not defending red. am not a big fan of its look. just don't see the bmcc as an alternative for my kind of work. if dslr works for you, fine with me. but as you said, hard to go back once you saw raw.

i remember a certain blog being over enthusiastic about some sony press releases a couple of weeks ago. surprisingly these fullframe products have not lived up to the hype. love it how sony is back to an electronics giant now from being the sole technological innovator in the camera industry. ;) bmcc destroys dslr. finally it must be obvious to everyone what p of c they actually are. if it would be s35 it would destroy red too. but even for budget work i will keep renting a red one mx and a set of zeiss hs for now. just because it gives me a "real" cinema image. and don´t fool yourself. it´s only that cheap because it isn´t s35. if it were it would be the same as the scarlet. if you want to shoot proper glass you will need ultraprimes 10, 12, 14, 16, 20, 25 mm. not sure if that will be much cheaper than a red package with same fov. if you are happy with the contrast, sharpness and breathing of a photo lens then you are in for a treat. but a good sensor need good glass to shine.

so the gh3 is a bulky e-m5 with a headphone jack?