Tim Fraser

Still waiting for mine, not from CVP.

I'd be quite interested to ask if you also considered the newer OMD E-M10?

You could just try a build using the integrated graphics capability on the Haswell chip. It may be equal very roughly to the power of the previous gen GTX 650 (memory a bit vague on this so could be wrong), but the integrated graphics lacks the Cuda processing abilities of the Nvidia card. This might matter to you depending on what software you decide to use. Seems a shame IMO not to at least experience the added editing features of Davinci Resolve Lite ver 11, due to lack of say a GTX 750 for £110! If you try using a build without a dedicated graphics card, you can always change your mind and add one in later. It would be most interesting to hear how you get on.

My daughter has the above Case (R4) and even with her GTX 760 and fan cpu cooler, it is nearly inaudible. Having the base unit on the floor beside the desk also helps; and it is a rather large case, think semi-pro/pro level. But I highly recommend it for keeping noise down.

That's why I would try the GTX 750!

It's not so much that your graphics card is not good enough, more that Resolve works hand in hand with Nvidia Cuda cores. If you power supply and wallet can handle any of the GTX 760, 770, 780 they would all do great. Each of these require an additional power lead from your power supply as they each draw at least 160W. If I was on a budget, I would be tempted to try the GTX 750, only 60W and draws power only from the PCI-e slot. The Palit Geforce GTX 750TI StormX Dual 2GB is the one I would go for, but then I'm pretty tight with my money. The Card that would best match your other components would likely be the GTX 770 or 780. Hope this helps.

Hi, PAL I understand to be 25p to avoid interference from electric lights which are on the European frequency of 50Hz. Capturing 30fps or 60fps under such artificial light can produce unwanted results. In 60Hz countries they capture 30/60fps and don't have that problem. If you can capture using your daylight filled studio at the bottom of the garden, say! :) , then you have more flexibility. Then the more frames will give you smoother playback and 30p may be a good choice 24p is a cinema standard which produces an amount of motion blur that audiences have got used to, great for cinematic atmosphere, not really what you want. Your choices are probably 25p or 50p if you are in PAL land. Having said that my Olympus PM2 can only capture 30p and I try to rely on daylight as much as possible, but then I'm not doing paid work or reviews. Before you rush into 50p with it's extra storage requirements I would look into how Youtube would stream your footage as you may end up going to a lot of effort that is not warranted. If your camera is to remain static on a tripod for example, you may already know it's hard to beat a Panasonic G6 upwards for clarity of video. If your reviews will involve handheld camera work such as moving around a motorcycle or any other product at close quarters then the Olympus stabilised bodies from the EM10 and up may be worth considering although they are 30p only cameras. If you want to get close to that flexibility with Panasonic they do have certain stabilised lenses. Sounds like you already have a camera in mind though. All the best with deciding what purchase route to go down. Only one other aspect occurs and that is that some cameras are know as "world cams" as they are switch-able between all these frame rates. Some Europeans still import these as they still want the benefit of their non-camcorder not being limited to recording 29 minute clips.

I especially like Joel Serrato's film 1, he is quite brave only using super 8 for weddings. But he achieves a great look IMO. And a very clever web showcasing of low res work! You may have to reload the page, I'm not sure his web server is too brilliant. I have a canon 514 super 8 camera and it lacks the full control needed to do this commercially. For that you would want the Canon 814. I think the difference was that the 814 gives 1/3 stop exposure adjustments (important as you have to adjust to modern versions of super 8 film available), but it was a while ago I looked at this. These Canons were the pinnacle of super 8 camera development and there is also a sound version which you can still use ordinary film in, but it will be heavier to use so loses appeal. You probably know Super 8 film with the audio track is no longer made. You might go through three or four examples before you find one that you feel you can depend on. Some on ebay will have partially corroded battery compartments and light meters no longer working etc.

My supplier has indeed increased the price of the BMPCC to a normal level. I'm guessing they have been instructed by Blackmagic, no doubt having received enough orders at the reduced price, well ahead of their estimated promotion running through to the end of Aug! Glad I got my order in! :)

I tried for a wee while, about 24hrs, not to order this camera and failed :-) The dealer's website did not report "awaiting stock" until after their order confirmation email was sent to me accepting my order. I will be disappointed if they were not to fulfil the contract which I understand to be a legal agreement, but perhaps not as no money has been taken yet. If they wanted to change any order details, they had that opportunity when confirming the order. I'm hoping Blackmagic will honor any orders taken during the promotion period including mine.

Interesting as it could mean that a greater amount of 4K material becomes available not through modern digital camera acquisition and workflow but scanning of older, already edited celluloid content. Features, like Gone with the Wind 4K, Dr Zhivago 4K :-) and older TV content shot on film. Anyone want to see The Walton's in 4K?

Resolve Lite 10 does do 4K frame grabs, just figured out that my mistake was I had ignored the import settings, so without realising it was looking at imported 1080p, so of course the frame grabs were only full HD. Now that I've re-imported the 4K as 4K even the lite version is grabbing high res 4K stills. Sweet!

Can anyone say if Resolve can grab full res stills from 4K footage please. So far I'm only getting 1920x1080p from Ctrl+Alt+G I'm not using Resolve Lite 11 yet due to not having 8Gb RAM, but would be interested if this will do it, or whether the Paid version of Resolve is needed? Or does Resolve not have this ability yet?

From what little I know, I would agree with the previous comment that 32Gb ram would match your six core processor better. More important to get it right with X79 chipset as it uses quad channel ram, so you would populate all four slots with 16Gb then would have to replace it all later upgrading to 4 sticks of 8Gb. With Haswell, it's dual channel ram, so you can just add in two more ram sticks and get to 32Gb more easily and cheaply. Here are two links from a website that I go to for insight that considers all the issues you need to think about. Your choice of "enthusiast" X79 motherboard and chipset, not only lets you use six core cpu, but enthusiast motherboards have higher bandwidth internal buses between main components which is very advantageous for video applications. DIY10 DIY9.5

That's what I was wanting to confirm, because it makes a big difference to, well everything! So what is going on here? ML hack must take full sensor readout and then get it to 1728x972 res THEN write out each frame to the CF card. I totally get the advantage of RAW pixels, and loved playing with Resolve lite on my V1 footage but until I try it out with an actual 5D ii or 7D, I don't know how well ML hack does this downsizing, in terms of sharpness, moire. If ML does very good binning then the quality should be almost as good as 1:1 would be with the adv of full frame FOV. Very tempting even if I am a little late to the party. I guess I won't be the first to be torn between a new panasonic GX7 or second hand Canon DSLR with ML Raw for personal unpaid use. GX7 still looking good, with focus peaking and tilting LCD so I won't break my neck...bending down to get shots of grand daughters :-) If the Canon ML hack also does focus peaking while shooting raw video, how would you describe using it in practice please? (and if you have comparison of using GX7)

Thanks, that is most interesting. I take it that 1728x972 resolution is a 1:1 pixel mapping from the centre of the sensor and therefore when I compare the diagonal pixels with the native sensor I get a crop of about 3.4? So for example the 17-40mm lens would give 58-136mm eq? Or have I misunderstood what the resolution is?

Can anyone with experience of raw video on Canon 7D and 5D mark II, tell me if either or both of these cameras record on camera audio while capturing ML RAW 1080p video?

Hello max optics, does the A6000 do focus magnify while video recording?

Good camera, but you must surely be using a truly great fluid head? Please share!

I notice the 5D iii ML can now record audio as well as RAW video, so can the mark ii build do this also?

plus £10 shipping outside UK see this Kickstarter project! project in the hands of Raspberry Pi fans, but don't see why this product can't be used for pulling focus in the studio? It can be battery powered, hence also portable. Anyone for a 9" portable monitoring screen :-)

Any crop on an already cropped sensor is likely to make it harder to get wide enough angles to shoot with.   I don't currently own any canon dslr, but made this spreadsheet up to help me decide if I could live with the crop amount.  I'm wondering if I have the crop factors (formulae) worked out correctly for the lenses listed, particularly formulae in column J.      It tries to show effective focal lengths in 35mm full frame equivalent, using raw video crop modes, for a number of Canon lenses with both the 5D iii and APS-C Canon dslrs.   I previously played with a Nikon V1, loved the quality of raw and ability to zoom in post, but found the short clip time in raw mode of 1 sec plus limiting.   B4 lenses may match up pretty well with raw crop modes in APS-C cameras.  Maybe B4 lenses and their crop factor equivalents could be built into a spreadsheet with user comments on any vignetting issues.   B4 to EOS adapters seem really expensive?  And some B4 zooms need power?   Even wide B4 zooms seem to start around 6.5mm, and if spreadsheet formulae are correct, that might get one to about 30mm eq focal length on APS-C using a reasonable 1:1 mode?  Does this sound about right?

Had huge fun with Nikon V1 and saw amazing quality output from Resolve Lite that resulted from the raw stills sequences.     Now sold and although ML raw is hugely exciting looking at example footage, I'm put off both APS-C and even 5D full frame raw (iii is out of budget, ii even @ £800 body on eBay is pushing it and some mark ii bodies are going for a fair bit more recently) because I would be drawn to raw 1:1 crop modes and on the bodies I could afford even 5D ii, getting wide enough is problematic because crop modes obviously use a smaller part of the sensor.   While I did enjoy playing with Resolve lite on my neff->tiff converted V1 sequences, wouldn't mind for the coming year enjoying native footage with as good colour as can be had as it comes out of camera in a suitable form factor and concentrating on many of the other aspects of video making, while collecting a few Nikkor or Canon FD prime lenses.  I could do with building up my editing and story making skills more than colour work just now :-)   I'll be shooting people mostly starting with family, no paid work in the foreseeable future. The BMPCC I don't believe is for me as it is a bit over budget, and needs extra bits; while I would love pro-res files, I've realised it may be best to start with lens choices first and camera second and that Sony/Panasonic codecs are very good.   Under consideration to make use of primes with adapters:   1) Panasonic G6.  I totally get that sensor size is not the only measure of video quality, but I'm not sure I want to deal with the m4/3 crop factor as I'm keen to use some of the faster Nikkor and Canon FD prime lenses and still get as wide as possible.  (s/h GH2 also a contender here)   2) Sony NEX-7 I expect could pick up on ebay about £450 to £500.  Will get a bit wider with same lens than the G6.   Some of my shooting may be monopod, but a lot will be hand held and there will be a fair amount of indoor shooting and of course with primes focusing will be manual.   Main dilemma is sensor size?  The newer camera with the sharper video has the smaller sensor :-(

Or you could consider:   http://www.eoshd.com/content/7074/hacked-gf2-the-300-digital-cinema-camera   Check out the frame grabs!   footage at 1080/24p 44Mbit for about £100 is not too bad if you can live with the limitations one being lack of mic socket.

Are you able to export a video straight from Resolve? Yes, on the deliver tab I used H.264 setting and 720p. These uploaded and display on Vimeo without problems. The above burst clips of Lucy would show better if they were 1080p.