Andrew Reid

If jhnkng's suggestion doesn't work, I'd suggest that would be the only way. The lock is probably a Canon thing and not to do with any standard file system. Maybe take the card into a rental shop and beg them for a 1D C for a couple of mins?

If the 1D X Mark II would be so video orientated and just around the corner you'd think Canon would have discontinued the 1D C completely by now. I think the rumours look a bit too optimistic for video. Remember all the D5 rumours shouted 4K and it turned up with major limitations. Since 22MP is 5.5K, that full read out at 60fps in a relatively small and battery limited DSLR seems extremely unlikely to me. Maybe they can only achieve it from a small 4K crop of the sensor. Canon's dilemma is thus... If they put Cinema EOS beating full frame 4K 60fps image quality in a $6k camera, it would dilute the appetite of a portion of the market to invest heavily in dedicated Cinema EOS cameras. Wedding photographers who do video as well could just buy one camera for stills and video, and then Cinema EOS cameras would be limited by their ergonomic appeal alone not just their better image quality. Also at $5999 it severely limits Canon's ability to mark up any future 4K Cinema EOS camera aimed at roughly the same market. That is a very low price for a full frame 4K 60fps camera from Canon.

I quite enjoyed it when all the dialogue faded away and we were left with the survival stuff. Fun to be an observer in that situation, albeit a sadist one!!

Some movies are escapism, warm and comforting. Some try to do the opposite. Read the full article

And Jonesy if you can email me if the problem still occurs, I'll look into it. http://www.eoshd.com/contact/ Could try resetting your account on the back end. Also maybe try re-registering for a new account with different email, then log out and back in with your old username again.

Yes I do actually

It sounds like a cookie issue, I know it's a pain but can you try deleting web data / cookies off your iPad and PC then re-login to the forum? I am going to upgrade the version of forum software used later this week and see if that makes a difference.

You get a lot for your money with these deals. If the R1 was lighter, I'd go for it. For now going to persevere with my FS5 and 1D C!

How about a low light test versus the A7S in natural outdoor light or by street lights? It would be interesting to see exactly how far the MX ISO 800 pushed in post can go.

What ISO would you have to set on a DSLR to get the exposure you did at F22 with the push in post? It doesn't look at all bad! I bet it is like having usable ISO 25,600 in post. MX sensor definitely not a ISO 800 max like the Blackmagic Production Cam.

I've only seen this once before and that was on a pre-production camera, the Sony A7 II. Check out 2 min 38. Maybe Canon need to fix this with a firmware update.

Yeah flew under my radar too, sounds brilliant

Best picture nominationsThe Big Short (Adam McCay, Ryan Gosling, DP - Barry Ackroyd) - Film and digital Arricam LT and Canon C500 (some shots). 4K Canon RAW, mastering in 2K. Bridge of Spies (Spielberg, Tom Hanks, written by the Coen brothers, DP - Janusz Kaminsky) - Film and anamorphic Arricam LT and Arriflex. Hawk V-lite anamorphic lenses Brooklyn (John Crowley, Jim Broadbent, DP - Yves Bélanger) - Digital Arri Alexa XT. ArriRAW. Mad Max: Fury Road - Digital (George Miller, Charlize Thearon, DP - John Seale) - Digital Arri Alexa M, Arri Alexa Plus, Canon 5D Mark II, Olympus E-M5 (some shots) The Martian (Ridley Scott, Matt Damon, DP - Dariusz Wolski) - Digital RED Epic and Scarlet, Dragon sensor. GoPro Hero 4 (H.264). Redcode RAW 6K The Revenant (Alejandro González Iñárritu, Leonardo DiCaprio, DP - Emmanuel Lubezki) - Digital Arri Alexa 65, Hasselblad Prime 65 Lenses , Arri Alexa XT and XT M, Panavision Primo, C-Series, Leica Summilux-C and Zeiss Master Prime Lenses RED Epic Dragon (some scenes) Room (Lenny Abrahamson, Brie Larson, DP - Danny Cohen) - Digital RED Epic Dragon, Redcode RAW Spotlight (Tom McCarthy, Mark Ruffalo, DP - Masanobu Takayanagi) - Digital Arri Alexa XT, ArriRAW Best cinematography nominationsSicario (Roger Deakins) - Digital Alexa XT The Hateful Eight (Robert Richardson) - Film Panavision 65 HR (65mm film) Carol (Edward Lachman) - Film ArriFlex 416, Super 16mm film Mad Max and The Revenant (See above) - Digital Read the full article

I'd prefer if Blackmagic didn't have us hanging around for 12 months in anticipation, each time they announce a camera. They should avoid announcing at NAB and just announce it when it's ready I think. Otherwise, they get a reputation for delays and that's a bit unnecessary. NAB creates a buzz I suppose.

I would get shot of the 12-40mm actually, put the 28mm f2 and 85mm f1.4 on a speed booster instead. Forget the 18,35 and 50, the 28 and 85 are the unique ones. 750 is a 'just ok' price, try and get him down to 700 at most. By the way... I have the modern ZE 28 and 85, plus the old Contax Zeiss equivalents (well... my vintage Zeiss 28 F2 is actually in Pentax housing!!) Although the images are pretty much identical between them, I do find having a native Canon mount handy and build quality is superb on the new ones. My Contax Zeiss 85mm F1.4 is a bit wonky now after a lot of use and ageing! The 28mm is fine wide open... the 85mm is quite soft at F1.4, best at F2.0. Neither are 'perfect', they still look very vintage.

Nice spot Enny I wish the Micro Cinema Camera had a form factor similar, with screen... having to add a big one defies the point really doesn't it?

Very interesting, thanks Volker. I'm downloading

I don't care if they notice. I notice!!

His last album is brilliant. Check out the other video too, nicely shot - Very sad he's gone. Every artist on earth today has lost a part of themselves somehow.

That shows off the 10bit XAVC Intra pretty well. Nice and smooth!

Compared to the 700D, the D5200 is hands-down the better image. Big difference all round. But you may want to get a used D5500 if it's not too much more expensive, because of the flat profile. It grades the best.

Maybe that's why they thought crop 4K was where it was at.

This is probably to do with S Gamut and it's probably why the FS5 has 3 versions of each S Gamut for different colour temperatures (i.e. 3200k for indoors) With the A7 series in SLOG with S Gamut the purple reds (too cool) in sunlight might hint towards that being the issue. Doesn't that fix the manual white balance issues? I prefer SLOG 2 to the Cine profiles. Yes steep learning curve in post for colour but you can get it to match the C300 or 1D C for sure.

The D5 doesn't do anything better than the 1D C at all and it isn't even cheaper if you consider the used prices of the 1D C. Also there are a few unknowns about the D5 such as how well the codec holds up. H.264 4:2:0 at lower bit rates will have to go some to beat 500Mbit/s 4:2:2 MJPEG. The 3 minute limit is a pretty serious restriction and will be a deal breaker for many. Anyway since we can get very good low light 4K full frame for $3k with the A7S II with a much more adaptable lens mount, the D5 is a pretty pointless endeavour altogether for video... Even if it had been full frame, it would still be poor value for money compared to the Sony's image.

Eno, 4K is 4096px wide on the 1D C.