Andrew Reid

In the end people are free to make their own choices and choose the right tool for the job.

I can just put the information out there and show it how it is, as well as stating my own opinion because EOSHD is a personal blog as well.

When comparing these for video, don't forget:

* video recording limit (GH3: 30min in EU because still unhacked, BMPCC: card limit+external power option, 5D+7D ?)

* ability for an external microphone (GH3+5DmkII yes, including displayed levels, BMPCC records low, noisy audio levels, no display)

* avaliable frame rates (GH3: PAL or NTSC decided at purchase, BMPCC: all options). Think travelling abroad here.

* LANC (BMPCC only. Start/Stop okay. Zooming doesn't seem to work. Focusing not tested yet.)

 

Anyone tried the FS100 handgrip via LANC on the Pocket camera yet?

This is great and all, truly. Many thanks for posting. But let's not forget how to make GREAT movies....

 

1. Get a good camera, good glass, properly compose the frame, light and expose the shot.

 

2. Get something great to happen in front of the camera.

 

3. Repeat step #2.

 

4. Don't forget steps 2&3.

 

More useful tips... sigh.

 

Don't forget to use actors, words and to take the lens cap off.

On BMCC should work. Might have soft edges or vignetting on the GH2 though.

 

GH2 is APS-H with Speed Booster. That's larger than Super 35mm, for which the LOMO anamorphic is designed for.

I'm curious to know how would be the stock 5DMKIII's score.

 

Bottom of the lot for the stock video quality overall.

[media]http://vimeo.com/77268402[/media]

68GB worth of material was used to get a studio based test this finely tuned, with the cameras matched in post as close as possible. This effort to remove the variables of grading and camera settings leaves behind a truer picture of the differences in hardware capabilities.

The 5D Mark III raw (from Magic Lantern), if it were a film stock, would be Fuji. Warm vivid colours which may need taming a bit in post. The Blackmagic is more Kodak, cooler and more muted, it often requires the opposite treatment in post to the Canon cameras. The 7D is totally back from the dead - with Magic Lantern raw and the Mosaic Engineering VAF-7D tested here, it offers lovely image quality from a Super 35mm sized sensor, at a similar price to the Pocket Cinema Camera. The Panasonic GH3 - best of the standard system cameras out of the box without modifications does a good job keeping up with them.

The scene was lit three ways to test resolution, dynamic range and low light performance.

[url=http://www.eoshd.com/content/11350/depth-test-5d-mark-iii-7d-raw-vs-blackmagic-pocket-vs-gh3]Read the full article here[/url]

There are two camps, and since the DSLR one is the biggest, crop factors vs a full frame sensor has crept into the cinema lexicon hasn't it. Doesn't help that people are using Canon full frame glass on Cinema EOS either :)

I was wondering about that too, i've been cheking the forums the last couple of weeks only for that rumor :) so EOSHD-guys, what about it, any news?

 

Yes maybe time to spill the beans on this one...

That was just a sample of page one.  So who should Canon listen to?  It's weird.  I have never seen such a divergent set of opinions about a product line.  And both worlds seem totally unaware the other exists.

 

If Canon were smart they'd make two 7D Mark IIs. A video orientated one and a stills orientated one.

 

However I have a feeling they already did this and the 7D Mark II Video Version costs $15,000 and is called the Cinema EOS C300!

 

And stills guys think they have it bad on price sub $1000!?

Knowing Nikon it is probably 'new' because the AA filter counts as part of the sensor now on the spec sheet!

 

Removing it = new sensor.

 

However they do seem to have squeezed 1080/60p from it with the new Expeed 4 processor.

 

Looks like an interesting camera for sure as D5200's sensor did a very good job of video in 24p mode.

I've shot with the A7 for a full day, you can see the video here:
http://www.youtube.com/watch?v=bnvgceTEV3c

Looking at the image afterwards though, I'm not as excited as I initially was.  I loved the process of shooting with the camera, but the image quality is pretty wanting.  As you can see on the video above, the image is quite soft, and moire is visible in many shots.  Hopefully, this can be chalked up to pre-release firmware, but we permitted to judge the video quality based on the models we had, and I'm not delighted with the results.  Once the production cameras come out, I'll post a follow up to the above video with my revised opinions.

 

Nice overview Jordan and welcome to the forums.

 

The A7 looks at 7.27 to be doing some funky stuff with your hair.

 

I am not sure if it your haircut or the camera :) But definitely not moire free. The VG900, A99 and RX1 had terrible quality video compared to the 5D Mark III and the previous Sony 24MP full frame CMOS sensor was in those. Could it be the only change is the addition of phase detect AF pixels and the new microlenses?

 

Now the D800 and D800E did much better with their Sony 36MP sensors.

 

When you changed to shooting on the A7R for the last section of the video, I noticed the quality jump a bit.

 

I'm curious to see how video compares between the A7 and A7R as they have such different sensors.

 

Not looking like it will challenge Blackmagic or Magic Lantern at this stage on image quality I have to say :(

HDMI is 10bit on the $999 Blackmagic Pocket Cinema Camera so no excuses Sony!

IS on the RX100 and HX9 was very good by the way. But still would have been good to see the full 5 axis in there.

Yes, all to do.

 

Expect a lot of coverage.

From http://***URL removed***/previews/sony-cybershot-dsc-rx10/ -

 

The more powerful processor not only promises more detailed JPEGs, it also allows the camera to use every pixel to create its video, rather than having to sub-sample the sensor as most DSLRs do (the line-skipping method is a major source of moiré).

And Sony appears to have been thinking about more than just stills when it made this cameras - the RX10 offers one of the most extensive lists of features for videographers we've seen on any camera. This includes stepless aperture control, headphone and mic sockets, focus peaking, zebra exposure warning and uncompressed video output.

Their high end HyperPrime 50mm T0.95 will cover full frame by the way.

 

That on the Sony A7R is going to be a viable alternative to the Leica Noctilux.

 

And the A7R actually has a much better sensor than the Leica M!

Go DPReview and check out the studio test scenes RX1 vs RX1R.

 

Only at extreme 1:1 pixel level and really pixel peeping do you see the difference.

 

Between 24MP and 36MP CMOS sensor, a much bigger difference!!

 

Which one will be best for video is The Big Question.

 

Hard to decide this early but we will find out, hopefully before the hit the shelves. Once again Sony didn't get the camera into the hands of any filmmakers or video orientated bloggers!!

The AA filter won't make a difference to video. It barely makes a difference at 36MP never mind the 2MP of 1080p. Biggest marketing gimmick ever devised.

 

The difference in video between the A7 and A7R could still be significant because they use completely different sensors.

 

So look to the sensor as the differentiating factor.

 

The AA filter comes under the headline spec along with the sensor, they have bundled the meaningless AA filter spec in with the CMOS which is crazy. On my list of priorities the AA filter comes a distinct LAST! Look at the difference between the RX1 and RXR and you will see what I mean!

Andrew, do you know if the Nikon D5200 also does a full-sensor readout?  I've had one for many months now, and in all my shooting it seems to lack moire, aliasing, and false color entirely.

 

As far as I'm aware the Toshiba sensor in the D5200 and the Canon CMOS in the 5D Mark III don't read out all the data, they do pixel binning. Better than line skipping and they do it well, but no match for the full pixel readout.

Posting this here since it might interest those looking for a compatible loupe:

The LCDVF by kinotehnik will be available worldwide as of 1st November

 

Hopefully someone can make one which doesn't need to be glued to the camera's back..

 

I believe the LCDVF for Blackmagic Pocket camera will attach via magnet. Easy to take on / off.

 

At the moment I am using their LCDVFe as a small lightweight monitor for Pocket and 5D Mark III shooting.

 

Here's my Pocket Cinema Camera rig. The audio side is handled by the Roland R26. Very good built in mic on it, but rigging it can be tricky and there's no line-out port, you have to use the headphone jack to connect it to the camera or sync the dual-system audio in post. If you set the headphone jack output on the Roland too loud you will get distortion on the Pocket ProRes audio track.

 

Top handle and nato rail from Wooden Camera. Excellent build quality and design from them.

 

The whole rig is very light. I've tried to keep it as un-spidery as possible. Without the Roland it is amazingly discrete and looks pro, not DIY.

 

 

 

 

 

 

That above is my Magic Lantern raw rig. Still the ultimate image quality in my view.

 

I'm powering both the EVF and camera off a single Switronix PB70 battery with that rig. No more swapping multiple batteries or worrying every 10 minutes about having enough juice!

Sony recently took a stake in Olympus. It's a shame they've not used 5-axis sensor shift on the new cameras. Maybe the next versions.

 

5 axis works with any sensor size. I've tried it on a recent Olympus compact. Compact is shit but the stabilisation works great! :)

Nice find Julian. The RX10 looks very nice.

 

The A7R had a bit of false colour but nothing too bad. A massive improvement on previous Sony cameras.

 

Lots of compression on YouTube so looks softer I am sure, than the original clip. Anyone found original files to download?

I'm expecting the picture profile to take a leap with this too, as they'll have more data to work from.

According to Imaging Resource the new video mode of the new Sony RX10 with 1" sensor is a huge step forwards. The RX10's sensor reads out the entire 5472 x 3080 frame at 60fps sending huge amounts of raw video data to the image processor.

The new Bionz X processor is designed to take the 5K video stream (for the first time). The advantage is that Bionz X can intelligently downsample and compress to 1080p from a much higher baseline than usual.

[url=http://www.eoshd.com/content/11337/surprise-new-sony-rx10-sensor-full-pixel-readout-5k-raw-video-output]Read the full article here[/url]

If they are doing on the new full frame sensors the same as on the RX10's new 1" sensor then video is going to be amazing.

 

The RX10 does a FULL READOUT producing 20MP 6K raw stream at 60fps.

 

The new Bionz X as featured in the A7 and A7R is powerful enough to then subsample that 6K down to 1080p before writing it to the card.

 

That means no moire or aliasing, no line skipping on the sensor, no great loss of dynamic range from a poorly subsampled sensor output.

 

If your credit card is not ruined by now it may well be when the RX10 sample videos start trickling out.