Andrew Reid

I too thought C100 and C300 (and C500?) have same sensor.   So if they have enabled it in firmware on the C100, why not C300?

  A more pertinent question is where's Nikon, Canon or Sony's answer to Blackmagic?

  DSLR video isn't shrinking. If it was shrinking, my Google Analytics would tell a very different story. At the height of the DSLR revolution in 2010 - 900,000 visits. So far in 2013 before the year is even out - 6 million.   2 million of them unique!   Yeah tiny market yada yada!

  This is why deep down I really want the Df and I think as a stills camera it will do well.   It's a shame that the mount isn't more flexible for non-Nikon lenses though, a shame about the pricing, shame about the small battery and locking dials, and I think it's going to be hard to justify me buying one on looks and ergonomics alone when the A7R is around.   It's also very bulky compared to something like the X100S which is just as sexy to use.

  Let's examine the logic of your post.   You say the DSLR video market is a tiny tiny niche, but then you say judging from Vimeo that 14 million users represent the maximum size of the market.   Hardly small exactly. I'd love to sell a camera to 14 million people for $3000 and turnover 42 billion!   Nikon's total annual DSLR sales amounted to about $2.6 billion recently.   To make that increase by a massive 20% would only require cornering 3 or 4% of registered Vimeo users.   I assume most Vimeo users need a video camera, right? Unless they're posting stills :)   In the 5 years after Nikon introduced their consumer DSLR line, their sales doubled.   Consumer market - NOT PRO - is the big one.   The consumer market for video is much larger than the professional video market and yet we have NOTHING catering to us in a quality way. If consumer stills quality was as bad as video quality on Nikon cameras they wouldn't sell a single DSLR.   Nikon sold a total of 3.5 million interchangeable lens cameras in 2012, all of them with video modes.   That's just one company. In effect, though not all of these customers will use video, all of them COULD use it given enough education, desire and inspiration... so the maximum potential size of the market is very large. If only Nikon could be arsed with it.

So now we have the truth of the way manufacturers think about DSLR video. It's a distraction! Clearly the purist section of the photography industry wants to take us back to the stone age. Video quality has been very low down the list of priorities at Canon and Nikon over the years. And Olympus, and Fuji. Now, even fashion accessories are prioritised above video capture as the Nikon Df dispenses with it altogether! Read the full article here

If 1080p is 'enough' then 4K makes very good 1080p because of oversampling, so everyone wins regardless of whether they think they need 4K or not. Also a full sensor output will do wonders for dynamic range and colour gamut. My only concerns relate to how they go from 4.5k to 4K on the image processor.   GX7 full output in 16:9 - 4592 x 2584   4K video standard - 3840 x 2160

Great to see the Aaton Penelope get some use rather than the usual boring choices.

The USB port is under the battery door on the bottom of the camera. Usual mini-USB to full sized USB cable required.

I import each clip, save a grade as a preset and apply it in the Adobe Camera Raw window.   In After Effects I drag the clips to the render queue. That's your batch process.   Then I have a preset for ProRes 4444 which is applied by default in the project to all the clips in the render queue.   Then I go and have a cup of tea :)

  Correct, compared to 8 million consumers we are small.   But Canon could do a Blackmagic and grab a big profitable market under the $6k C100 if they wanted to with DSLRs. Too risky? No incentive to do it? Weird.

Unlikely to be that smooth on your system. Minimum I've been able to get to work well has been GTX 560 Ti and 3x striped RAID 0 HDD array.   You cannot edit raw off just one drive unless it is an SSD.

Adobe have been pretty good at updates since CC actually, and Cinema DNG is a bonus. It doesn't seem like it has been a huge priority but I am surprised it is there at all. If they continue to improve support and functionality like they should do, it will end up very well.   Until then, check out Resolve 10 beta 3. The debayer for DNG in there is supposed to have been greatly improved since version 9.   http://www.blackmagicdesign.com/support/detail?sid=3948&pid=4446&leg=false&os=mac

A great line from 1001NoisyCameras today:   ...as Engadget points out above, Nikon was not as bad as the Canon operating profit outlook, revised downwards, saying that sales of high end cameras (in this context they mean DSLRs and iLCs) will be down year-over-year in unit volume for the first time since 2003. A drop from 8.2 million to 8 million, but it's the trend that is more bothersome than a mere 200,000 DSLRs/iLCs.   Grumpy Photographer Opines: you know, Mr. Canon, if your last three Digital Rebel DSLRs were not nearly identical, and if your first mirrorless camera was a bit less half-assed than a 85-lb supermodel on a celery and distilled water diet, maybe more people would have bought more of your cameras.   Source: http://www.1001noisycameras.com/2013/10/halloween-financial-horrors-canon-nikon-sony-taiwan.html   When will Canon and Nikon stop blaming the economy for their sales decline?   Do they realise that it's the PRODUCTS that are to blame?   Incredibly arrogent to say the least, not to mention dangerous too.

  No. They need to put the ACR controls in there to make it truly useful.   We need to change that raw metadata within Premiere.   Until now it will rely on third party plugins or grading tools designed for non-raw codecs.   It seems like a really half-hearted first effort to me, but great they have made a start.

Adobe have the best debayer for raw around. I still convert my 5D Mark III and Blackmagic Cinema Camera raw files from DNG to an editable format in Adobe After Effects because the end result looks better than DaVinci Resolve. Well as of today Cinema DNG raw video is an editable format, directly in Premiere - dramatically speeding up the workflow for video shot with Magic Lantern on Canon DSLRs and the Blackmagic cameras. [url=http://www.eoshd.com/content/11441/raw-goes-mainstream-adobe-premiere-cc-native-cinema-dng-support-tried-tested]Read the full article here[/url]

GH3 is an amazing bargain for $799. The G6 is in the same league for image quality but it's great to have the high quality body and weather sealing. The HDMI out for recording is no better than internal codec but for monitoring works very well.   Did you see this comparison video in terms of the image? There's not a whole bunch of difference.   https://vimeo.com/70855765

D5200 - better than G6 in low light. Better stills. Larger sensor.   G6 - Better all round video features, 1080/60p useful for slow-mo, has electronic viewfinder you can use for video, more fine details in video than the D5200 manages   Do you need AF? I recommend manual focus for video but if you need AF, G6 will do it best for video.   Regardless of the body choice, Nikon AI lenses on eBay are a great choice as they work on almost anything...Canon, Panasonic, Nikon, you name it! The 50mm F1.4 is a good buy and not expensive. The E-series Nikon lenses are extremely sharp for the money. 100mm F2.8 especially.

I've seen the Canon 1D C go for under £5000 on eBay at the moment.   An absolutely terrible depreciation on the used market from the launch price of double that.   It's for that reason I'm unlikely to ever invest more than £5000 in a camera... That and the fact they become obsolete after a year.   The Sony F3 for example - was £12,000... Now £4000 used! It's perfectly good... 10bit codec, lovely low light, FS100 Super35mm sensor, HD-SDI, XLR, ND, you name it.

And yet it has no 720/120fps and 5 axis stabiliser like the lower end Olympus compact, HS50 http://***URL removed***/news/2013/01/08/Olympus-Stylus-Sh-50-iHS-24x-compact-superzoom-with-5-axis-image-stabilization     You've gotta wonder why!

  Moire is an interference pattern, which happens when you take out pixels and move unrelated pixels next to each other in the 1080p after the pixel binning from 36MP or 24MP down to 2MP.

  Those files are interlaced 60i according to my system. VLC has haircombed playback but fine in Premiere.

Used my FS100 again the other day for first time in ages. It was actually very refreshing to have a light camera body, very long battery life, mirrorless lens mount and tiny file sizes after all this Blackmagic and raw shooting.   However I still believe the image quality of raw is a league ahead. The test scene above doesn't really challenge the camera. Take it outside and shoot something with a wide dynamic range, like some landscape in a shadow against a bright skyline - you will notice what happens for sure.

Thanks prism. Appropriate name :)   The aim of this was to test out a concept on whatever I found on the street that day really. It's already fired some ideas off of how it can be used in a planned shoot. I'm planning two music videos for the Berlin band Bunny Suit at the moment so maybe it will turn up again. That's the great thing about testing out different equipment, it can actually generate ideas in itself.   Got the filter thread adapter for X100S so I can use it on that - video is a little better on that at 1080/30p but in 1080/60p moire and aliasing actually get worse. First camera I know that does that between frame rates.

Got to love Luke's response here.     Luke Neumann is a top guy and big supporter of my anamorphic efforts... I highly recommend you check out his YouTube channel and watch the anamorphic video which is the subject of the NFS post.   http://www.youtube.com/watch?v=Oar3rXa8fXI