Julian

Being online is not mandatory. For a yearly subscription it's something like once every 90 days minimum, and there is a grace period. Check the exact days at adobe. It is all documented.

I think the Creative Cloud is a great deal if you work in a (semi)pro environment.

The whole concept works great in my experience. Just download/install whenever/wherever you want. You can use it on two computers (not at the same time, but at home and at work for example, could be mac and windows if you want). Access to the whole creative suit... fast updates, etc.

For enthusiasts it is a bit of a let down... unless you use a few packages very intensively and always buy the new version.

Nice test shane. If you send me the youtube-file with wetransfer or something, I'll make an overlay with the BMPCC crop. I'll send it back to you so you can upload it. Less work than grabbing screens and cropping individually ;) Hit me with a PM!

I doubt if it is the patent that is holding back other companies from producing something alike. The pro companies make single focus anamorphic primes, right?

Hah I didn't think of that, using the step down for both sizes :) Show the result when you have your setup ready!

Peaking: works during recording, can turn it on and off during recording, works in magnified view.
Auto ISO: works in A or S (and probably P)
Changing ISO during recording: works in all modes

All shown in the video:

I have the BMCC 2.5K and 5D3 with me now and will do some comparisons. Feel free guys to let me know your ideas for tests.

Would like to see some high iso tests from 5D3 in raw. Not 25.600, more something you'd actually use, like 6400.

Noise reduction in Lightroom/Adobe Camera Raw works good for stills (I usually only apply colour noise reduction, to keep the grain), does it work well for video or are the patterns not random enough?

I'd also like to hear your thoughts on Lossy compressed DNG (see here) converting them is a fast process and saves a lot of space when offloading to your computer. I'm curious what kind of compression you get on average (depends on the detail in the scene), how does it influence post and what about quality? To me it looks visually lossless. I think this could make the whole storage/processing part quite a bit easier.

Which craze about the MoVi? There was anticipation when we didn't know what it was. Laforet announced it. Most people said 'Meh'. I haven't heard anyone about it since.

Funny though. Short after this 'next big thing' from Laforet, there have been a few REALLY big next things! Pocket Cinema Camera, BMPCC 4K, Canon dslr's shooting RAW...

@Andy:

Looks pretty centred to me!

Editing Auto ISO and peaking demo right now!

Haha no worries,! Love this topic and the anamorphic eBay topic btw, keep up the good work!

Minolta +??, 67mm, for Autopak Super 8 camera.

http://www.ebay.com/itm/330915280246

 

I'm almost sure this is a low power since it wouldn't be of much use to Super 8 shooters if it restricted focus too much. Couldn't find any information on google about it. Ends in 4h.

I got this one in today. It is definitely more than +1. With my Iscomorphot 8/2x it lets me focus from around half a meter.

Oh well, I can do anamorphic close ups now :) Not bad!

I just downloaded the 3 sample DNG's from Andrew, the 1920x1280 files, and ran them trough Adobe DNG Converter 7.4, saved them with lossy DNG compression.

The compressed DNG's are still perfectly editable, even when lifting the shadows a lot I don't see any difference at first sight. The 4,3 MB picture of the dog was compressed to 678KB! The other frames to 1,5MB and 1MB. It depends on the detail in the shot, but on average a compression of 4:1 or something should be possible! Yes, it is lossy, but still the quality is way ahead of H264.

You could simply unload your card and convert to Lossy DNG. Takes much less space and probably edits faster. Or you work with the original DNG's and when your project is finished archive the files as lossy DNG.

This would definitely be something I would do. I don't mind the lossy compression. Still looks great!

NASA uses mostly Nikon camera's. A lot of D2X and some D3S, and about every lens you can imagine (including a 1200mm and one of those huuuge fisheyes) for still photography. Never have seen them filming with it (except time lapse).

Yesterday I had the opportunity to interview André Kuipers, Dutch astronaut who has been on the ISS twice, returned last year. Really cool.

He says they have Sony video camera's on board as well. Saw some DV tapes in a presentation of him. He was talking about the 'G1' but I don't think there is such a Sony video camera. Anyway, it's probably old what they have on board. Most things are, because they have to get certified. It's funny, the Russians have iPads in their compartments of the ISS! But they are not allowed to bring them into the American compartments, because the NASA didn't certify it yet :)

They even have some Fuji 3D compacts on board but I never saw footage of them from the ISS.

He also was telling about the radiation, they have to replace the camera's on a regular basis because the sensors get fucked up by radiation over time. They just throw away the camera's into the cargo ship that's being sent back into atmosphere where it burns... shame!

I think Andrew is right about this eating into BlackMagic sales. I got the Pocket Camera pre-ordered, but I am rethinking that. A 5D Mark III is out of reach for me, still out of budget. But if a stable release of this firmware makes it onto the 5D Mark II or 6D, I'm probably cancelling my Pocket.

Getting cheap glass for fullframe is actually easier than for the pocket. Want a 28/24mm wide angle? Just buy a cheap manual one.. A bright standard lens? Any 50mm f/1.4 will do. etc. Also I wouldn't have to buy the Speed Booster any more, so thats another $400/600.

Might get a Panasonic G6 next to it, in case I don't want to deal with raw files, but I might even rethink that... and the 5D II / 6D are better still cams than the Pocket or the G6...

Actually, I might just start calculating what selling my GH2, old 5D Mark I, canceling the BMPCC and forgetting about the Pana G6 might mean for the budget.. and a 5D3 is probably in reach.

Magic Lantern should start selling camera badges. I don't want to buy a Canon... with their overpriced old tech. All the reason I want one now is because of ML.

http://***URL not allowed***/news/?p=17976

 

Mark III RAW vs. BlackMagic RAW

Canon looks better... :blink: no moire.

The problem with the Panasonics is SD media.  The ML hack needs the throughput that fast CF media allows.

SD allows fast speeds as well, but it depends on the controller used in the camera. The SD controller in the 5D3 sucks, because even with 95mb/s write/read speed cards you get bad speeds.

Is it just me or did the Kowa B&H doubled in price over the past few months? Thought they went for 500-something.. now I see them going for +1000?

The Sony RX100 is the only pocket-able option. Nothing with the same size has the same quality and versatility, both for stills and video. End of topic ;)

Coincidence I suppose... Don't think they develop this overnight.

Will do galenb. Peaking is only available in light blue, didn't find a menu option to change the color. Seems to work fine, like any other camera with peaking. I still experience some hit and miss shots though when using it, but I think that is always the case with peaking. Anyway, I'll show!

Also, I'm not sure if it's a world cam. I have a PAL cam with 1080p50,25,24, didn't find a menu option to switch to NTSC 60/30. I believe this is possible with the GH3 or am I mistaken? I don't care for 30 but 60 would be nice for slomo.

$17 too expensive?

Just buy the cheapest made in china $3 UV filter or step up ring..

No worries, raw will scale a lot better than the h264 anyway :)

ps - it's not going to make prints any better either ;) dpi just tells the printer how many pixels to print on each inch - so it defines the size of the print. The higher the dpi, the more pixels per inch, but if you only have a few pixels, the print is going to be small.

Canon Raw to compressed CineformRAW would be great I think. If possible.

There's a tool for CinemaDNG to CineformRaw: http://eyepatchfilms.com/?p=903

Stanley; you could buy a cheap 77mm UV filter (break the glass) or a 82mm-77mm step down ring, and solder this ring with some kind of 'holder' to a rod clamp.

Or buy something like this:

Superglue the Step down / emtpy UV filter to the top of the Lens Support. The height is adjustable :)

I did a dynamic range test with the D800 and 5D III in raw (photo mode), by lifting the shadows from an underexposed image.

http://www.digifotopro.nl/content/canon-5d-mark-iii-vs-nikon-d800-dynamisch-bereik

The difference is definitely there. You can lift the D800 4 stops without much penalty. That is the extra dynamic range of the sensor paying off.

Also in the highlights.

Not measured in numbers, but you can see the difference. In line with the DXO results.

DPI doesn't have any meaning with digital files. That is a (common) misunderstanding. The DPI only has meaning when you print, since it defines the amount of dots per inch. If you open a random file in Photoshop, go to Image Size and desable resampling. You can make a 100x100 pixel image with 3000 dpi, but it will still have 100x100 pixels. The DPI just changes the size of the print.

It has 5 fn buttons you can program. 3 real buttons, two on the touchscreen.

That is freaking awesome! Haha.

Wonder what it's shot on, the ISS is full of Nikon's, the D3S is probably the only video capable dslr on board though.

They have video camera's as well.. not sure which ones, I don't see any fancy DOF though, so could be small sensor cam.

Shame about the anamorphic flare though, imagine how awesome this video would be with a real anamorphic lens! :)