mtheory

I'm noticing a deafening silence from the DSLR gang of LaForet, Chung ( blogged ) and Hurlbut ( testing ML now ). These guys gained their prominence from the 5D, but now seem to be trying to distance themselves from it because DSLRs are too cheap or something. Case in point, - I just noticed that Dan Chung quitely changed the domain of his blog from www.dslrnewsshooter.com to just www.newsshooter.com

Bloom has a wicked sense of humor and blunt delivery whether talking about RED's or BMCC's faults and I respect that. He wouldn't appreciate RAW because he is a broadcast guy who shoots long docs that have to be edited and delivered fast. I do have one beef with the man, - Philip, if you're reading this, - stop picking on "RAW" spellers because spelling this format as "raw" simply doesn't communicate the epicness of being able to manipulate your footage to death. :lol:

5D raw video is in 240dpi resolution. It isn't just raw...it's Retina RAW. :D

  Is the rolling shutter still terrible on 5D2 raw?

A large chunk of BMPC pre-orders are 5D owners who wanted RAW. At the current pace of ML development it's quite certain that the hack will be fine-tuned and stable by July, - Blackmagic's promised shipping date for BMPC. I suspect that this chunk of their customers will be a lot less forgiving if BM misses this deadline. Personally, I will stick with BMPC but I imagine many won't.

BMPC + 5D = For $8.5k you now have a RAW acquisition workflow with access to Ultra-Wide-Angle Full-Frame / S35 / Global Shutter, Low light and 4K, all of it handheld and portable in a single backpack. Fuck.

Jumping through the hoops to achieve great shots is what you do regardless of budget. Danny Boyle's crew ran around slums of Mumbai with cams tethered to macbooks running Windows XPs wrapped in actual ice packs that had to be constantly changed because they were...melting. Whiners would say that's a retarded and unprofessional workflow. Winners are too busy gunning for their next Oscar. :D

Leave the Bible-thumping for Sunday. If you or your actors can't use your creativity to adapt to technical barriers, - you're in the wrong industry.

A bad dancer will blame his balls for being in the way. Being able to work around limitations is exactly what low-budget indie filmmaking is all about and is the difference between having a film and not having a film. In the days of film actors had to wait between magazines being loaded, and that delay would often "get them out of the zone". I suppose this is a similar annoyance, but it would not stop a determined crew/talent.

Personally, I feel the Creative Suite has become rather outdated over the years anyway, - I hope this announcement is going to result in some new software developers coming into the market and writing new software from the ground up with innovative new approaches to UI/workflow/integration for the creative community.   For example Lightworks, the editor that was used to cut Pulp Fiction is coming to OSX this year.  http://nofilmschool.com/2013/04/lightworks-beta-mac-os-demonstrated-nab/   Till then, CS6 will be my friend.

We're not even through the middle of 2013 and the camera scene has been turned upside down twice already this year. 2013 - the year of RAW wars!

They're probably trying to figure out how to cripple 7D Mark II which has 1DX hardware components. A greenscreen showdown between BMCC and 5D3 would be awesome.

Andrew, if you're not too busy could you shoot someone ( or even your dog ) against a green screen and post a frame? I'm really curious how the 5D RAW will key. 14-bit 422 is going to have some serious firepower in post.

It is ALIVE!!!! Meanwhile, somewhere at Canon HQ...

Can someone do a quick greenscreen test and post the DNGs? I'm curious how this footage keys.

  I already have BMPC on pre-order, but the hackability of 5D is probably the most fascinating case study of consumer self-empowerment I have ever witnessed, so I'm curious how far the tech can be pushed regardless.

I wonder if a hardware mod to increase the buffer is theoretically possible.

Get an external drive dock and blu-ray burner and you shouldn't have issues with organization and archiving. Or just get this -   http://www.sonnettech.com/product/echo15thunderboltdock.html

What is unprecedented is 4K global shutter in such a small body. Even at $15k+ this camera would be a winner for high-budget action sequences, nevermind $4K. 

Is this what they used in the Matrix for the city skyline when Neo shoots through the glass to bust out Morpheus, or were they using actual printed backgrounds? I remember the city skyline being shot in-camera.

Correct, I meant to say "optical distortion" instead of "optical image" in that sentence.   Those 4 center squares at the bottom are the sweet spot with least distortion, so an S35 will naturally take advantage of that.   Question is, will it make much difference visually? Only the eye will tell, I have an old Canon 20D lying around with a 1.6x factor, will have to make my own test sometime.

LaForet is still pushing "game changing" MOVI while the industry is in shell shock from the BMCP announcement. Like pissing against the rain.

Theoretically, the full frame vs S35 difference should be irrelevant because the actual optical image of the lens will be the same, therefore photographic principles should remain intact in cinema as well.   Here the "clown" phenomenon only goes away at 50mm on full frame, nevermind 21mm.     Question is, if her face was more centered in the "35mm" image ( i.e as it would be on "crop" / S35 ), would it make a significant difference in reducing distortion? I wish I could find a proper focal length comparison on a 7D online with horizontal orientation. I'm 75% sure that it would not make a difference, but I guess I'm fishing for a magical solution that would allow me to shoot close to the actors without distortion.   Only actual tests with the BMPC will tell.