Chrad

NAB should be good.

You can buy a cheap dumb adaptor for your Samyangs, since they have manual control on the lens. If you want to set aperture on the Tokina, you'll need to buy a Red Rock Micro adaptor for about $500.

Black and white sensors are pretty damn niche in 2012.

Done in one.

[quote name='tehgeek' timestamp='1347121558' post='17607'] Black and white is beautiful. Why wouldn't they do this? [/quote] Because it's extremely niche and doesn't seem a fit with Red's usual style of releasing products designed to blow up and dominate the field. A lot of black and white projects these days are shot in colour and turned monochrome in post. Nevertheless, it's very cool and I'm glad it exists. I'd love to shoot a film with it.

Um, so this is a real thing and not a Leica M-Monochrom parody?

After watching this very interesting review, I think I'll hold out on this until the super 35mm version is available. Not because I need the larger sensor, but because I think the price of the M43 version will drop dramatically. By then I expect that the oddities and quirks of the camera will have been tamed and SSD prices will have come down quite a bit. Looking forward to grading RAW in 2014! ;)

[quote name='Axel' timestamp='1347014162' post='17523'] On the other hand: Are the options with MFT sooo much better? Do the MFT lenses (the ones that allow manual control of aperture and need not be camera-software-corrected for distortion) for wideangle (12 mm equal 31 mmm related to FF) really top Tokina 11-16 or Sigma 8-16? The 7-14 cannot be used, the SLR magic is not perfect, the Nokton 17,5 equals a 45 mm and is wide no longer. [/quote] Then buy the Nikon 11-16mm with an adaptor. Problem solved. Only now you can use the M43 manuals [i]as well. [/i]And there's no wide lenses at such high speeds on the EF Mount.

i was considering not buying the BMC. Now I'm picking it up for sure. This really is huge. Any manual lens. SLR Magic 12mm, Voightlander 17.5 and 25....oh man oh boy oh god.

The mount is a problem, but on the bright side, if a S35 version comes along a couple of years down the track as so many are predicting (and BMD seem to be hinting) you can shrug it off and embrace the possibilities brought about through owning a secondary RAW body that renders your lenses differently. Your lens investment is protected in a way it wouldn't be if you bought big into fast wides for M43. Obviously this doesn't apply if you've already committed to the 4/3 system.

You don't need Thunderbolt to edit BMD files. Just import the footage from the SSD.

[color=#222222][font=Helvetica Neue', Arial, Verdana, sans-serif][size=4][background=rgb(255, 255, 255)]I'm curious as to why so many people think that an affordable larger sensor RAW camera from BMD or anyone else is just around the corner. The BMCC seemed at NAB to be an incredibly disruptive and innovative product. It took BMD a lot longer than they initially anticipated to get the product out the door. Then there's the super 35 sensor Kineraw, which has some of the same limitations as the BMCC (like no overcranking at full resolution, though it does support up to 720p60) but costs twice the price. So why do people talk like it's easy to crank one of these things out and the sub $3K RAW camera we've all been waiting for will be out in a matter of months? Sony and Canon have not shown themselves to be nearly that nimble, and I think it will be a number of years before Blackmagic can put out another camera. [/background][/size][/font][/color] [font=Helvetica Neue]I'm sure in a few years there'll be a great super 35 RAW camera at an accessible price point, with all the features we've been asking for like higher frame rates, but there comes a point where one has to stop waiting and make the most of what's available now. With the inclusion of DaVinci Resolve and Ultrascopes, I think the BMC offers a value proposition that we won't see bettered for a good while to come.[/font]

GH3 sounds amazing. BMC as A cam and GH3 for very low light, shallow DOF normal shots (with the Voigtlaenders), ultra wide, Steadicam and overcranking could be the 16mm dream team.

I think FS will stay Super 35, and will be compatible with all the lenses for NEX FF as well (without a adapter). S35 is still ideal for cinema, it's what the market wants and what the competition is doing. The niche that demands Vista vision/FF could be served with a hybrid DSLR like the 1DC used as a supplementary camera with their NEX FS. Then again, if anyone's going to put out a serious, affordable full frame cinema camera it's Sony. They're doing a tremendous job of recognising the way that consumer/prosumer tastes have been shaped by the HDSLR revolution. A RAW S35 NEX would be amazing. It's only the logical way to respond to Black magic, yet conservative companies like Canon will no doubt drag their feet with their expensive options for as long as possible before bowing to demand for that sort of product.

This is huge. It will change the landscape of the camera industry. But yes, Sony do need to release more lenses.

Changing focus can offset the balance of the rig. Not to mention that attempting to control thin planes of dof while flying a Steadicam is prohibitively awkward. So forget follow focus. Steadicam shots are usually done with a slow f stop and focus set to infinity.

There are barely any N mount lenses out there anyway, and none anyone would really miss. The time is now for Sony to start releasing full frame NEX cameras and lenses. It would take the market by storm.

Yeah, I saw. Impressive stuff. Reminds me of Philip Bloom loosing his GH2 in Sydney Harbour and wondering if the last moments of footage survived.

It amazes me how after three years Leica are still the only company to bring out a full frame digital camera smaller than a brick. Full frame mirrorless can't still be far off, surely. The market is ready and waiting. How likely is it that Sony will have a third successive NEX FS model at NAB next year? If they can bring the slow motion options and region switch ability of the FS700 to a model with the low light performance of the FS100, I'll take it. 4K sensor is preferable but not required.

The 12-35mm f/2.8 is speculated to be the kit lens (if correct, huge step up from the 14-42) and it is thoroughly weather sealed. Wouldn't make sense to pair it with an unsealed body.

Oh god... Hype. You damn tease!

[quote name='EOSHD' timestamp='1344405195' post='15105'] By the way if what I know about the GH3 is correct we are in for a treat. [/quote] ...Panasonic are leaving it open to hacking? Because it's hard to imagine that out of the box it's going to beat a hacked GH2. Photokina unveiling, right?

Expected. But as you say, no great worry. It's nothing compared to Red's legendary delays, not to mention their ultimate failure to deliver a Scarlet anything like what was originally described. Looking forward to the review. And on another note, hoping for a super 35mm variant in the future! I'd pay $5000 for a RAW supporting super 35 camera with interchangeable batteries. Are the camera companies listening!?

[quote name='Axel' timestamp='1343279913' post='14533'] Oh no! The resolution of a 70mm film was better than that of a 35mm film, but with the old techniques (which I love like others love old locomotives) 35mm delivered a lower resolution to the eye of the viewer than 1k. WAY lower! Don't you remember the times when television meant 480i for NTSC countries, which is still WAY lower than 480p, and you went to the cinema and didn't have the sensation of a particularly brilliant image? Despite the fact that the old screens were smaller in comparison to the auditorium? Modern projection technique is much improved, but still can't reach digital cinema. 70mm would be in the ballpark of modern 2k, IMAX a little better, but certainly WAY below real 4k. [/quote] The thing is, I'm pretty sure this film will be released in 3D 48fps 2K. 48fps 4K 3D isn't supported in current digital cinema standards. [quote name='MOONGOAT' timestamp='1343282620' post='14535'] Reserve judgement. [/quote] Yep.

48fps isn't 'reality' either, regardless of how Jackson tries to sell it. It's just a different form of stylization. It's going to look weird, but I'm willing to give Jackson the benefit of the doubt until I've watched the whole film.