Andrew Reid

8 hours ago, LawDude said:

Bitrate isn't going to eliminate the banding.  Banding is the result of only having 256 colors per channel on account of the 8-bit color space.  A 10-bit color space gives us 1024 colors per channel - that smooths the gradient, and gives you a smooth transition between shades of color (eg., going from lite blue to deep blue in a sky).

There's an easy way to test whether it is compression / video related or a limitation of 8bit, find a blue sky and shoot an H.264 4K clip of it and an 8bit JPEG.

Bet the 8bit JPEG is ok. I think it's more a compression or 6K sensor output to 4K scaling issue.

Indeed ISO in raw is done in Resolve, there is a control for ISO in the Camera DNG box in version 12 now

However for ProRes shooting of course it would be useful to have an ISO button.... no... a dial, it should be on there but isn't.

I miss the BMCC's cute touch screen.

The Micro is pretty darn cute in itself though. Here's my rig...

Kept it simple and small:

Wooden Camera top handle
Blackmagic View Assist via HDMI
Metabones Speed Booster (BMPCC) version for 1.74 crop, almost Super 35mm
Tamron 24-70mm F2.8 VC
Heliopan vari-ND with hard stops
Articulated hinge mounts the screen (I hate the spidery arms) - this part was a cheap generic part from eBay
Base is my quick release plate!! It needed something to stand on even when not on a tripod because the camera body is so insignificant!
 

Oddly enough I am using the Sigma Quattro DP3 for 5K timelapse. Actual resolution is closer to 8K and it has a built in intervalometer. Writing a blog on it now.

If it's just timelapse you're after at 4096 x 2160, the D5 is probably overkill.

The D750 would serve you just as well and the 6K (24 megapixel) images will go nicely to 4K in post. You would however need to frame in 16:9 and then crop to the very slightly narrower 1.85:1 aspect ratio. Just a very tiny slice off the top and bottom of the image required.

The D5's 4K looks to be limited to just 3 minutes and 3840 x 2160 so pretty useless for timelapse. I'm not sure it has a built in intervalometer like the prosumer Nikons?

The Canon 1D C has very similar colorimetry to the Nikons and shoots 4096 x 2160 at 24p or 25p. Do you need 30p at all? If not, then get the 1D C and simply fit your Nikon glass to it via an adapter.

If all this seems like too much of a workaround then the D5 would of course be very good in low light and fit the bill for timelapse but as it isn't out yet nor in my hands, I can't really be too sure about its suitability.

PS - the best resolution stills camera in the Nikon line is actually the D810 at 36MP or close to 8K... D5 is 20MP to keep the high ISOs sweet.

1 hour ago, gelaxstudio said:

The Dual pixel AF on the 80D is way slower than the 4D focus on the A6300,not to mention DPAF only cover 80% of the frame,WHY????

Didn't seem slower then I tried it at BVE in London, was quite impressed with how robust it was too.

DPAF doesn't cover the whole frame, that's true. But every pixel is a phase detect point. On the A6300 the pixels are normal with a few hundred of them swapped out for focus pixels. I suspect DPAF doesn't go to the edge of the frame because of light ray angles or lens vignetting which would reduce the performance of it, or make it more expensive, or some technical issue with the design of micro lenses. I'm guessing.

Good post Day, I agree with every word

Maybe someone will make a control unit for it that attaches to the COM port!

25 minutes ago, BenEricson said:

I am really enjoying using the new BMMCC. Black Magic basically fixed everything that was wrong with the original pocket. This was all shot handheld, used two IS lenses, Canon 24-105 and the Canon 35mm f2 IS. I know that this sensor will really shine when you use the Sigma 18-35 and other shallow lenses, but I do think having an IS lens makes the setup incredibly fun to use. 

Some thoughts:

Moire seems improved. (There is one shot in this entire edit that has moire. I shot at around f4-f8 for the whole day.)

The battery life seems to be at least 3 times higher than the original pocket. 

The menu system is incredibly easy to use, despite having less buttons than the original. 

Using the Small HD 501/LUT preview is really really nice with this camera. I used HOOKs LUT to judge exposure. The grade is just simple three way in Magic Bullet Looks

 

Cool. Glad you're enjoying it.

Agree on all points aside from the menu system...

Although the menus are very nicely laid out, the physical controls on this camera are completely laughable.

Better have a lens with an aperture ring on it and hope you don't ever need to change ISO or shutter speed in a hurry!

7 hours ago, BenEricson said:

My rig is looking similar to this but just the monitor and a top handle.

However I like your hotshoe rail and F&V ball head... where you get them from, any links to the actual items so I can order?

PS - 1.74x crop with the BMPCC Speed Booster... nice. Canon APS-C is 1.6x crop so not far off fully using the image circle of EF-S lenses.

Sigma 18-35mm F1.8 very nice on it.

35mm F2.0 IS also.

SLR Magic 10mm T2.1 best one without Speed Booster I have used and the Panasonic Leica 15mm F1.7 best ultra small option.

On 23 March 2016 at 5:20 PM, Paul Shoopman said:

The video button placement came from complaints of people accidentally hitting it on the NEX 7.

I accidentally hit Q instead of W on a keyboard sometimes.

Doesn't mean to say we should redesign keyboards.

Sony can be truly idiotic sometimes.

5 hours ago, duffman said:

WTF clients are you dealing with? Peter Jackson?

No, but come on... The C100 is such a dull little work camera. An office tool in comparison to something like a sports car.

I'm not saying it's a bad camera... It's just that is designed to be a work tool, by a company that also makes photocopiers

If it is the battery door, someone try this and see if it solves the problem -

http://www.amazon.com/Neewer-Professional-Vertical-Infrared-Batteries/dp/B014QVDFJ6

If something as trivial as that solves the overheating problem why didn't Sony solve it in the design?

I'm skeptical!

12 minutes ago, BrorSvensson said:

Thats not the point im making, look at people like Casey Neistat. He uses the 70d (now 80d) and the G7x and soooo many people people have bought those cameras just because he uses them, its a big part of why Canon is still seen from the masses as the best dslr for video.

Celebrity endorsement as a substitute for knowledge.

I worry for humanity sometimes.

A load of fuss over nothing.

Any image where the shadows have been brought up in the raw files to the extent the are doing in the DPReview tests will look rubbish on every single camera out there apart from perhaps the Pentax 645Z with 50MP Sony CMOS.

They are not measuring the USABLE dynamic range and by usable, I mean, good looking images.

Doubt it but you could try. Also rolling back to a slightly older version of the firmware is worth trying.

So it's happening a lot? Any particular trigger (in terms of shooting situation) or is it random?

I've had this, but it happens VERY rarely and disappears quickly. Probably a firmware bug.

1 minute ago, DaveAltizer said:

Totally agree. Even if an a7s, bmpcc, gh4, etc can outperform specs wise....you can't compete with the ease of use with the Canon C series. And professional clients love the image. You got to remember that once our images are delivered...nobody really gives a crap what you used to shoot on. As long as the shooting day went smoothly and the images look great thats all that matters. The ND's, XLR, Battery life, low light ability, and pleasing Canon Log all make it a great workhorse. 

What do you tell those clients to whom you deliver the images then, when they want 4K and 120fps?

Glad you got a 1D C as well. This is going to be interesting...

In decent light and with a human subject, you'll be surprised at how close the X Pro2 and C100's images are.

Ergonomics wise, of course the C100 can do longer takes, massive battery life, easier to manually focus, a tad easier to expose with zebra, waveform, etc... but the X Pro2 is smaller, lighter, more simple, more direct, and has a MUCH better EVF. So again it's not quite so simple as writing one off because it is mainly a photo camera.

Biggest difference is on the audio side... Obviously if professional onboard audio and XLR is a priority then C100 is going to give you that.

The 5m limit would work brilliantly. If Nikon has chosen to limit the D5 to 3 min (or is it longer now?) then it won't harm Fujifilm's reputation a jot to limit the X Pro2 to 5 min and stop it from being used by people who need 2 hour takes for live event shooting.

Sony's mistake was to not mention a sizeable limitation and allow such long continuous recording times. What do they expect to happen? You will get people like me taking it to shoot a 5 hour recording session for a band, that's what...

Very nice Ebrahim. Silky smooth and so film like.

So you're not shooting Canon LOG?

Leica are really going to after pro video shooters with the SL.

Meanwhile RED are persuading medium format photographers to use a 6K Dragon or Weapon.

A gap in the space/time continuum captain?!

Step forward the next specialised tool to turn camera-chameleon: the Fuji X Pro2.

Read the full review on EOSHD here

On 18 March 2016 at 2:30 PM, Asmundma said:

I am concidering getting the FS5. Have the A7s2.

Is there a significant reduction in rolling shutter of the FS5 compare to A7s2 ?

Yes, massive difference.

On 18 March 2016 at 2:30 PM, Asmundma said:

Will it deliver 10bit 4:4:2 over SDI in 4k ? enabling recording with ShoGun.   (Know the Raw output should come later)

No the SDI is 8bit.

HDMI 10bit 4:2:2 though

On 18 March 2016 at 2:30 PM, Asmundma said:

How is the autofocus system compared to A7s2 ?

A7S2 has crap AF.

FS5 a bit better.

Neither as good as A6300 or C100 Mark II.

It's great. I shot all of this in 120fps and the long continuous takes really help in the edit, much better than the 240fps cache record and buffering mode.

Add to that the F1.8 lens really helps in low-light and you have a great run & gun camera.