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[quote name='jgharding' timestamp='1346681603' post='17223'] I'm really looking forward to GH3! I never quite made the jump to GH2 from EOS, but my mind is still open, they have someone here they could sway [/quote] I am in the same boat! I've got about $2500 saved up and i'm just waiting for photokina to see which company will get my money!

I'm really looking forward to GH3! I never quite made the jump to GH2 from EOS, but my mind is still open, they have someone here they could sway, I hope they go all out and give Canon a good kicking for their complacency. I just hope they iron out the little bugs before releasing, like that banding issue and the high ISO horizontal band thing that looks pretty ugly...

Good interview with Grant Petty CEO of BMD http://vimeo.com/48581497 3 videos on Vimeo Cheers Paul

Thought I'd share, as everyone in here is obviously keen on amateur anamorphic shooting. [url="https://vimeo.com/48683270"]https://vimeo.com/48683270[/url] Bit of a test of a new camera setting profile and lens combination, documenting a day trip out to Chatsworth House. Forgot my monopod, so it's shaky city I'm afraid. Combo would work well with a stabiliser, if not a bit heavy. No grading at all. This is directly out of camera, edited in PP CS6, 1.5x interpretation, export to h264 HD 1080p/24 profile. Camera: Panansonic GH2 Settings: Cluster v7 'Apocalypse Now' - 6 GOP Nebula with cbrandin/driftwood '444 Sharp2' matrix Film Profile: Smooth -2,-2,-2,-2 Lens: Tokina AT-X 280 AF PRO 28-80/2.8 Filter: Hoya Pro 1 Digital CPL Anamorphic: Moller Bolex 16/32/1.5x Aim was to try and stress the new Driftwood settings out and see how the Tokina 28-80 and Bolex 16/32/1.5x behaved. Settings: Looks very good to me. Tonnes of detail in difficult conditions. Was a very bright day with big bright blue skies. Gradation in the blues is nice. Motion rendering looks superb in my eye, especially with my non-stabilised shaky cam. Lens Combo: Using the CPL introduced vignetting at 28mm on the Tokina, so I was stuck with about 35mm onwards. Needs a mattebox at the wider end, or a filter clamp and bigger CPL. I can't speak highly enough of the performance of the Bolex 16/32/1.5x. Can bloom when overexposed, but some of the internal reflections on my crappy mFT to Nikon G adapter. I need the Novoflex to be sure.

Hmm run & gun is not the BMCC's forte. I'd chose the FS700 for that. It is more flexible, more versatile, does more things, adapts to more lenses, even has AF for run & gun if you need it. Now my advise to narrative filmmakers / music video producers / and many others is different, and it comes down mostly to the image and price as there are quite large differences between the two in those regards. The main issue about the FS100 and FS700 is their highlights, quite digital looking and I think the BMCC has a better image in day light, more cinematic, finer noise grain. But the FS100 (and I love mine) has great low light, so does the FS700 to a slightly lesser extent. Good dynamic range, but 8bit colour and AVCHD. 240fps is beautiful, I like it for slow-mo. They compliment each other, if you can afford the expensive gear - $8000 for an FS700 it isn't too much to stretch to another $3000 for the BMCC. If you can only get one, get the BMCC and spend the remaining money you were going to spend on the FS700 on lenses. Lenses are important.

[quote name='Xiong' timestamp='1346536622' post='17124'] Any chance you can elaborate? I like to know more about what you cam across using the scarlet. [/quote] a couple of things turned me off the scarlet and made me cancel my order... crop factor....the red sensor gets smaller and smaller as you shoot higher frame rates....that concept is just strange to me but it goes right along with the second issue i have with red....the higher and higher raw compression they use to get higher frame rates....a lot of the footage from the scarlet would have been highly compressed from a small portion of the sensor.....since i want to use the stills as well this just would not work for me..... don't get me wrong: the EPIC is great and the stills are great as well....yes, i am not too happy with the raw compression there either, but 5k makes up for a lot.... another issue: a proprietary raw format locks you in with RED....the BMCC uses an open standard and from the first day on i have several options to find whatever works best for me..... another big issue to be honest: price....i ordered the brain for 10000? and to be able to start shooting would have been another (realistically) 10000....selling SSDs and batteries with such a huge markup leaves a bad taste.... i can get 2 BMCCs, more then enough SSDs and some other gear for the price of a scarlet body (sorry, brain)...and i am pretty sure from what i have seen comparing raw files from both, the BMCC wins for a beautiful and detailed image.... the scarlet is a perfect back up for someone already invested in red....i do not see why anyone would get a scarlet over a BMCC right now....

[quote name='Stephen de Vere' timestamp='1346232798' post='16775'] I can't find any reference on this site to the hope that the banding issue in GH2 will be resolved with the GH3. For me, unless that get's fixed every other improvement is pointless. Am I missing something ? [/quote] Not at all bud:). Most of us are wondering ourselves. I hate the halos that emit from bright lights. I made a 4th of July vid and every firework looked like a nuclear missle launch. It's (gh2) - definitely got its issues regarding how it handles transitioning shades and such, but we never got the freedom to create our own color profiles either. I love cinestyle for my T2i, but i recently started using Visioncolor, and if you're pixel peeping, it Doesn't do the stairstep from one color to another. I'd assume it's the 8 bit space it has to work with. In After Effects, when I A/B 8 bit and 16 bit workspaces, i can see the banding in 8 bit. 16 bit doesn't do it. (granted, i transcode 5d to RGB 4:4:4 as well. You should try it if u don't already... And use Andrews gamma fix technique in Premiere with the Fast Color Corrector plug. full range input, 16-235 output... Double check that last number though.). Your shadows boost cleaner, and your highlights don't look like a supernova. Personally man, Depending on how much they want for the GH3, if you're making movies primarily, i'd just save up a little more and grab the BMC instead? I only say that because you're much less likely to hit your head against the ceiling because of a lame colorspace, or a shitty codec, or whatever DSLR inherent issue you'd run into with a still's camera. I can't believe i'm about to say this, but the Gh3's a "still's" camera first.... (I'm f--king banning myself from this site for that one.lol.). But who the hell takes pictures with a GH2 anyway..? Ha! No doubt, the GH3 will be killer... But being completely redesigned, weathersealed, with an X series kit lens, (12-35 f2.8)... It's not going to be priced like a Gh2. People will easily drop $2000 for it if it's a killer, and it probably will be. If that's the case though, for a thousand more you can have a 12 bit camera with the option to shoot 220mbps pro res... And that's supposed to be the "lesser" codec! It's still 4 times higher than the GH3's. And i could almost guarantee the Gh3 won't be 4:4:4 12 bit raw. But wtf do I know. Panasonic could've gotten wasted last weekend and said, "you know what f--kers?!.. Let's just go all out with this bastard. Yeah why not.. 4:4:4, 14 bit, RAW, clean HDMI out, 13 stops, X- series lens, unlimited lens options, $2000... Watch the world sh-t its pants.". .....Only I would be that cool.