ScreensPro

Dynamic Range Perfect blacks Motion and, unfortunately for us digital shooters, just a certain magic that I can only put down to the chemical reaction.... it will never fully be recreated digitally.

And the 5300 is a predomintally stills based camera, clearly aimed at the family market who will be very, very happy with the 1080p this camera offers. So you see why the D5300 perhaps shouldn't get harsh marks, if the reviewer thought about the target market and not just his own needs.

Your reviews should all just be condensed down to this: "I want (insert flavour of the month feature here).... If a camera doesn't offer it, it is useless and therefore a suicidal move by (insert multi million $ making company here)."

Great DR and colour will never be obsolete, and 1080p/2K is proven to hold up on a cinema screen. It's all good.... I'll be shooting ALOT of projects on my BMPCC this year.... I'm besotted with the camera.

Goes to show that 4K is very much just a buzzword... You simply DO NOT need it to make a great movie.

There’s no punch-in focus assist ---------------------------------------- There is, double click the "OK" button

this thread was actually quiet interesting and there was ZERO patronising posts until you joined in with the crap'o vision post. time to get banned again i guess. you should really consider guest posts, as this place is quite cool but your single mindedness isn't... your gear lust and canon hatred stops it from being a good place to visit. apart from the occasional good review, you are the worst part of EOSHD, quite strange that. bye bye

But you must understand that some people on here might look to you for direction. They see a nice video, then see you saying it was a bad choice to use the 60D which is "Crap O vision" or whatever you said. They can't afford a raw workflow pr a kitted out BMCC, so put off their project until EOSHD deems whichever camera they buy next as worthy.

It is, yes... but i'd hate to think there are people sat here thinking they need 4K, 14 stops DR, raw etc before they can actually go out and do something cool. I'm still making money off stuff I shot on HVX200..... there will always be something better, a new spec to drool over... But don't waste your life waiting. Go Do

Anyone who saw "The RED Dress" short, shot on RED Epic Dragon can agree with that statement!

It makes 100% sense if that is all they could afford.

for as long as I have been on these film/video forums.... The holy grail has been the "film look". first it was "we must have 24p", then "we must use 1/48th", then "we need large sensors", then "we need to add film looks to the grade", then "we need more dynamic range", then "we need raw". I'm sure next it will be something like "we need global shutter". All the above helps... but the fundamentals of the "film look" remain the same... The craft. Composition, lighting, camera movement and sound. Get those things right and you could use any camera from the last few years and it will look like a good production (of course, the acting and script need to back that up). Vincent Larofet (?) was mocked for saying the MoVI was the next big thing, but i'm 100% with him. It is a tool for the craft, not the pixel peepers.

what?.... they are worried about the opposite... the big spenders ditching the $15k cameras for a $3k camera. As i said, they don't care too much about ML as they know the big spenders simply cannot risk using 5Draw as their A cams.

Has anyone tried any of the gimbal stabilisers that are starting to come out?   I've been patiently waiting for the MoVI 5, but starting to explore some other options.   BeSteady seems to be a good alternative.... Who about the Chinese ones, any good?

Canon get alot of stick on here and are deemed evil for protecting their high end... But they could very, very easily shut ML out of the software, so deserve some credit. I think they know that most pros can't risk using ML in real world situations.

I find 5DRAW far more stable than the early Red ONE we worked with. I'd have no huge problem using it on some commercial projects. Nothing where timing is critical (except maybe as B/C cam)... But things like prdocut shots, why not? Have a back up cam and storage, like you would do any other digital camera

Until we see the various sports channels pick up 4K, you can forget about any major interest in 4K sets for the home. It will be niche market for trend followers and film buffs.

So, ML Raw is now forgotten?

Unless by digital photo revolution, you mean things like iPhone... In which case i agree there is still room for improvement, but it will never reach DSLR levels or have interchangeable lenses, other than the odd gimmick... So no major effect on Canon or Nikon.

Downturn in sales have zero to do with your idea that the dust is yet to settle on the digital photo revolution.... That ship sailed about a decade ago, when digital DSLRs equalled film (stills)

btw - If you use the crop mode of the 5DIII, you are, in effect, getting a full pixel readout (though obviously windowed). The sensor, pixels etc are still soaking up the same light as if it were reading out the full frame 1:1 Do you see a huge leap in DR, colour and sensor detail? Nothing significant, that's for sure.

You'd take 4K 8bit 4:2:0 over raw, 14 bit 1080p of the 5DIII? I think you are a little lost on how DR gets squeezed into an 8 bit image, if you think down sampling to 1080p solves all the problems and retains everything... Hell, even 10bit wont do that.

The most important spec there is the 10bit/4:2:2 I'd rather have raw 1080p (5DIII) than 4K.... But if it really has 10bit/4:2:2 it becomes an interesting option.

I just saw a full F3 pack on reduser for $5k.... Wish i was based in USA, so much cheaper! Trying to find which external recorder I would need for 1080/60p... Really love the F3 image and think it was an underrated camera. btw - just saw a Sony F65 package on reduser for $40k! Sony really need to learn to market their high end gear.

Ergo, you don't need an external recorder for raw... Just fast CF cards (1000x)