sudopera

Jonesy, URSA Mini sensor is actually 1,4 crop (25,34x14,25), so true Super35 size

URSA Mini 4.6K can switch between rolling and global shutter(but lose some DR) so really it should have an advantage in that department.

This time shipment delays are obviously for a good reason, some new features were added. More about this in a video at their homepage: https://www.blackmagicdesign.com/ start the video at 5:05

FS5 a little to expensive for my taste at 6700$, I would rather go FS7 route if I had the money. It will probably be great run&gun / doc camera because of the form factor but I think that you get much more with URSA Mini for filmmaking(compresed raw, all ProRes flavours, various aspect ratios etc). It looks like new A7s II is actualy much more exciting product than FS5. You get similar 8bit 4:2:0 codec with SLOG3, but full readout 4K FF video with 5 axis stabilisation.

It has SLOG3 now, the color will probably be greatly improved.

I think that this is great that someone tries to bring anamorphics to the masses, but that focus ring on the front clearly an issue for mattebox users... this looks like Rangefinder implemented into lens design. Maybe I'm nitpicking here a little bit to much Also I see from Zak's writeup that PL ones with larger image circle are just 1.33x squeeze, that's a bummer because URSA Maxi / Mini will have an option to shoot 6:5 ratio and with 2x anamorphics will get true 2.4:1 desqueezed. It seems that their focus in this case is more towards 16:9 shooting cameras and I understand the reasoning behind this because there are much more of those on the market, but still I think it would be better that they made them 2x.

I heard of one guy that has his whole video bussines based on stock footage and he doesn't do anything else(unfortunately I don't remember his name anymore). I have seen his portfolio, and his bestsellers by a large margin were corporate videos, like some people working in the office or some bussines woman showing a presentation to clients or coleagues, engineers in a factory etc. Only issue with those kind of videos is that sometimes you have to spend to make them, and you have to obtain signed model release from talents. I think that footage with happy people / families / children in nature or a park, field etc., also sells well because banksters and other similar corporate guys like to present themselves like they care about are happiness, environment and so on, so most of their commercials suggest that if we all take a loan from them or buy something from them, then all of us will be smiling, dancing and live happily ever after.

New relatively inexpensive beginners panel for easier grading http://www.tangentwave.co.uk/news.asp#IBC2015 Finally one affordable tool for grading from renown manufacturer

You're right about that but I think it can be useful sometimes, first thing that comes to mind are some of those low shots when you hold the camera down by the handle.

This is very good news for BM(URSA) EF mount camera owners... to have IS on good and sharp weather sealed primes with decent focus throw, clearly something to take into consideration. Outer design also looks very appealing.

I see the codec is MJPEG in MOV container, so basicaly the same formula as Canon 1Dc just 100mbps less in bitrate.

It's hard to judge quality by only one video but this looks very promising and the colors are simply amazing.

Interesting article about this topic but for GH4. Basicaly the guy says that there is nothing to gain with 0-255 vs 16-235. http://blog.josephmoore.name/2014/10/29/the-three-most-misunderstood-gh4-settings/

Thanks for this, very good read.

I agree with both Ricardo and benymypony, I would just add that it isn't just separation of the subject and background that makes that great 3D look but I can also perceive distance between various objects in the background. I saw the same thing in the Revenant trailer(trees in the distant background).

This one, much better

Yeah, people are doing "great" tests these days... you have to download it first, then use Twixtor and then watch it

There is also another reason why they made it in two blocks, blocks can be separated with proprietary extension cable, so it is possible to mount just the sensor block on a crane or gimbal etc. and have the recording module on the ground. I know that Panasonic is maybe a little late to the party with Varicam, but from what I read they really made this camera ready for almost every scenario in a high level professional workflow. Some tests vs other cameras here: http://www.cinematography.net/CML-UWE-tech.htm

That is just one half of the camera, this is the other half: http://cvp.com/index.php?t=product/panasonic_au-vrec1g_module

Most people are worried about 24mm performance if the optical design is the same as previous lenses(they were very soft and muddy apparently), but Illya Friedman says that when stopped down to T1.8 the image quality is about the same as 85mm at T1.5... also apparently the breathing is minimal on these new lenses. Quote from Illya Friedman on Reduser: To answer your question- the 24mm lens does flare in a not insignificant way at T1.5. And so does the Vantage T1.0 wide open, that a $40,000 lens. I would say a wide open Xeen 24mm flares in a not dissimilar way to a Vantage T1 wide open. Does that make either lens unusable? Hell no. You just need to know what you get when you are shooting in that area. I think most professionals understand what happens with a lot of lenses wide open. Some manufacturers limit all their lenses to prevent this from happening to give a unified T-stop, even on lens sets where one or more lenses is capable of great exposure. There's a certain amount of hacking that can be done to get more out of some lenses, if you've got the time, money and inclination. Some manufacturers give their customer the ability to go to an extremely wide open aperture, even though a lens might not perform the same as the other in a set. I would include the pre-production Xeen 24mm I had in this same place. At T1.8 the Xeen 24mm tightens up- a lot, and is a match for the 85mm at T1.5. I think that any shooter worth their salt knows how to deal with difference in exposure of a 3rd of a stop. At T2.0 the 24mm Xeen looks pretty darn good, and I split hairs. The Xeen lenses look a lot better than one might think considering the price. I projected the Xeen 24mm and 85mm on a Gecko projector and the lenses are totally respectable from an image quality stand point, including the 24mm from T1.8 on. Unless your whole movie is based around a 24mm shot wider that T1.8, the flares from the 24mm are a non-issue.

Hands on review http://www.bhphotovideo.com/explora/video/hands-review/hands-review-rokinon-xeen-true-cinema-lenses-full-frame-production/bi/19115/kbid/10779

Sorry, that is not my test it is just a video I saw a while a go. If the test was done properly, which I don't have any reason to believe otherwise, I think the difference is very clear. If I'm not mistaken, it was already posted on some topic here before, I believe some time around when Shogun came out.

Announcement is scheduled for August 10th. The price should be around 2500$. http://cinescopophilia.com/xeen-cinema-lenses-from-samyang/ Frank Glencairn has them for testing and says that it is a brand new optical design not just rehoused old optics. http://www.reduser.net/forum/showthread.php?134751-New-line-of-pro-cine-lenses-by-Samyang http://www.personal-view.com/talks/uploads/FileUpload/65/e486e45341e036bcbc5a202df2a759.jpg http://www.personal-view.com/talks/uploads/FileUpload/2a/edc6aaabaeb3ba0e4b6c4231fd6618.jpg