Andrew Reid

The problem with threads like these ain't because I disagree with them, it's because it's just about stating the obvious.   Keep posting nice work and some bad examples as well and we'll learn from them.   But let's leave off the gear angle of the discussion because it's just ridiculous IMO

The video in the OP is lovely looking. But they went to a lot of effort with the locations, crew, rigging, camera movement, light, makeup, costumes, props, organisation, logistics, ideas, direction, cinematography, distribution...   Yet shot it in crap-o-vision with a 60D. It doesn't make any sense.   I must say they played to the strengths of the camera very well and avoided any nastiness and the low-fi grade does help but imagine the extra impact those frankly amazing visuals would have had with a better camera.

How to use raw...   Press record.   Swap card when full.   Record audio separately.   Edit in Resolve.   Sync with the audio.   It ain't that hard… alas devil is in the details… and that is why I wrote the book.

So agencies are standardising around just two cameras? Man… I'm glad I'm not working for them :)

Surely you make your living off your skill as a filmmaker not the camera itself, or do you mean from point of view of a small rental shop?

  ...Yet     Please no NEX VGxx form factor ever again!! See what you mean though. Sensors and 4K are a Sony speciality.

  1. They are working on the monitoring performance. I think they can do it.   2. Mono jack - use it for sync and capture main audio on an external recorder like the excellent Roland R26. Use Plural Eyes to sync in post. Complexity of doing this is overblown, it ain't hard!   3. No E-mount or MFT mount yet but maybe it's possible.   Enjoy the camera! Get in touch with the dealer and Kinefinity themselves. They will be keen to have your input.

  They may be sampling all the pixels but they still have to throw them away on the image processor at some point.

  Well RX10 is certainly very interesting. But it isn't an interchangeable lens camera! Quite a big difference. That lens at F2.8 constant is lovely but there are times when F2.8 just won't cut it. The sensor is smaller. The built in ND filter and optional XLR add on are great. But it suffers some moire, the codec has a low bitrate compared to the GH3 and I'm not convinced the image will be better than a GH3... We shall see. I pick up mine tomorrow.

The D5300's image is very similar to the 5D Mark III's standard video mode, but APS-C and with option for 1080/60p.   I agree for the money it's very good. Sorry for the lack of focus on it. It's just that it's a very small evolution from the D5200 and there's a cyclone of more innovative stuff going on around it... Speed Booster, Magic Lantern, raw, Blackmagic, GH3, anamorphic, Resolve, Sigma 18-35mm F1.8, Sony A7R, RX10, list goes on...   Do consider the options before going for the easy choice.

Aside from Blackmagic there's only one other company endeavouring to give us affordable cinema cameras at the moment and that's Kinefinity. The MINI is a smaller cut down version of their S35, shooting 2K uncompressed raw to SSD from a Super 35mm sensor. It has an option for 4K to an external record (Q1 2014) and it's a powerful piece of kit, though I have some reservations about usability. Is the KineRAW MINI the early stages of a new Arri? A Chinese cinema camera industry? Read the full article here

Yes it works. I have one similar. The aperture of the lens is controlled mechanically by the lever on the side of the adapter.   That's why I bought the Nikon version of the Sigma 18-35mm F1.8... Can use it on my EF BMCC and Canon 7D, whilst using it on my Speed Booster F mount, since the EF Speed Booster has seemingly been lost in space.   BTW Not all Nikon adapters work. You need the Nikon F / G adapter, with the lever, not just a standard F mount for the old AI/S lenses.

Meant to say GH2, the GH2 and G6 give roughly equal image, GH2 actually a bit better with the hack.

It isn't designed as an acquisition format so much as a delivery one.   Like I said in the article, raw and ProRes will have a big advantage for heavy grading, keying, FX work in the same way it currently has an advantage over AVCHD and H.264 on DSLRs. It's just that H.265 will give us 10bit, small file sizes, 4K and lovely looking footage out of the box on consumer hardware. Given a few years.

They don't have a source for their info, then put 3 consecutive ads for "Setlife Magazine" after running the post. I think it's fishy. I think it's a click-bate based on a guestimation from what we already know, i.e. that with 45 days left of the year and less than that before stuff closes down for the holidays Blackmagic's existing statement of "we'll ship the 4K camera this year" basically means 30 days.   I wish I could run a Facebook page with 16,000 followers based on that kind of reporting skill :) My life would be much more straightforward :)

OK back from my small 'trial' with the Nikon.   Virtually everything I said about the D5200 is valid for this camera http://www.eoshd.com/content/9653   It really isn't very different. The image is the same, I didn't notice it being any more detailed. Still pretty good, but not quite GH2 level. It does have great low light performance though, just like the old model.   What was a shame was how there's still no proper 16:9 aspect ratio display mode or dedicated movie mode on the dial. When you remove all the distracting crap from the screen it also removes the faint 16:9 guide mask and gives you a full 3:2 image, which genuinely looks lovely but is as genuinely useless for video as it is lovely looking and the crop only comes in after you hit record. So better get some masking tape out if you want 16:9 AND an uncluttered display.   Didn't check the banding with flat picture profile settings or rolling shutter but probably similar to the D5200. I checked bitrate and Quicktime reports varying figures for the clips I shot. Highest I got was 36Mbit in 50p, but some of my 50p clips were 24Mbit! Go figure! The lowest I had reported was 17Mbit. Probably VBR (variable bitrate) and Quicktime is reporting it based on first frame or something.   The new manual focus magnification beyond the first step of zoom is laggy and jerky but it is actually useful for fine tuning your focus whilst not recording. On the D5200 beyond the first step of zoom you didn't really get any more detail just more pixilation and softness, it was entirely useless.   Couldn't see any crop mode this time out. The camera is rather basic when it comes to bells & whistles in video mode. 1080/50p did look fine and it is PAL / NTSC switchable for either 60/50p and 25/24p.   Overall I do think it's a great option but...   A) No significant difference to D5200 unless you count 1080/60p for slow-mo   B) Panasonic GH2 gives better daylight image and way more features for less money   C) Nikon lens mount is not my cup of tea, can only put Nikon on it and none of my other stuff   D) It's 820 euro body only and last year's model is now just 450 on eBay. Hmm.   So I won't be getting one but I do recommend it for those whom feel it would make sense for them - i.e. if you want the low light performance, 1080/60p and have lots of nice Nikon lenses to put on it.

Just tried one, first impressions...   Screen is very nice. Biggest on any camera and very good quality.   There's a new manual focus assist - ultra detailed but slow frame rate.   I'm picking up some SD cards and going back to get some footage. Nothing special just in-store test. If it really is a step forward from the D5300 aside from 60p I'll buy one and review it :)

I think H.265 support is going to take time, probably 2 years in case of consumer cameras, external recorders and smartphones.   Magic Lantern support - a resounding NO I'm afraid. The hardware isn't capable of that kind of processing complexity and anyway you'd need a dedicated chip on the circuit board for it. It would be like trying to put Resolve 10 on a Commodore Amiga! At some point Canon will be able to buy a H.265 chip off the shelf cheaply and put it in a camera. Like in case of C300... almost all off the shelf components, apart from the sensor. Until this happens H.265 isn't something we'll see appear even in an official firmware update because it's not what you should be running on a general purpose CPU. Too much of an overhead even if the CPU is very fast.   I mean if your powerful desktop PC takes X number of minutes to encode H.265, work out how much slower the mobile processors are and there's your answer. It needs to encode at upwards of 24fps minimum.   GPGPU is coming to mobile and portable consumer electronics. Tegra chip from Nvidia already on the market. That will get us there quicker but I'd still say 1-2 years off yet. Be good when it does get here though. The internet sets to benefit most from it.

The D5300 hasn't started shipping yet and Nikon's marketing people are off the ball when it comes to the video community so nobody has got one early.   It does look interesting, because we know the sensor is already pretty capable for video and it seems with the new image processor they have taken a step forward in extracting more resolution in the debayer and keeping hold of more of it in the encoding, which would be a logical progression.   Would it be better than a GH3 around though? I don't know. And that Nikon lens mount is very restrictive if you have anything but a lot of Nikon glass.   If it ends up giving a nicer image than a G6 it will be a good budget option but right now the image quality is more exciting on the ProRes and raw shooting cameras, and the D5300 doesn't really have much unique about it in terms of features.   My focus this week will be on the Sony A7R which is not a raw or ProRes shooting camera. Happy now? :)

  When you stepped out of the wrong side of bed this morning, did you also stand on a lego brick?   It doesn't so much matter if H.265 isn't destined for DSLRs immediately, I am sure Atomos will put it in an external recorder way before then and allow us to get very nice looking 4K from an HDMI and HD-SDI output on future cameras.

  That basic problem will be solved by H.265.

Forum is back. Don't see anything at first glance. What is the link to the FB post? http://forum.blackmagicdesign.com/viewforum.php?f=2&sid=718cce8e618027c747f93de62ff55fa9

CineMartin are the first company I know of to give us H.265 HEVC (High Efficiency Video Encoding) conversion with the just-announced CINEC v2.7. It supports up to 4K resolution and you can try it today. In case you live at 12 Under Rock Drive, the H.265 standard is the biggest codec of the decade. It supersedes today's most common codec for encoding and internet delivery of video (H.264) and makes 4K recording to SD cards possible on DSLRs. Read the full article here

It's not at all a taboo on here to talk about non raw / ProRes cameras Matt.

Is auto-focus in video mode important to you? For me that's the only advantage of the 70D in terms of video. If you own a lot of Canon glass that's also an advantage to having the 70D.   Stills a different matter. For my own street photography I tend to use a Sony RX1 or X100S with silent shutter, and because they're small and jacket pocketable. OM-D E-M1 also worth a look for that. 70D is OK for this too.