Andrew Reid

Unless you really need the articulated screen on the 600D get the 7D.   Will you be shooting raw video? 7D is much better for that.   ISO performance is similar on both, maybe very slightly better on the 7D.

  Because I tried it and looked at the photos, with my eyes.

One of the slides makes out the + key to be a dedicated shutter button, different in appearance to the existing + key. That isn't actually the case, and have corrected it in the article bullet points.

  What the hell is the point, really? It's a phone!   Let's have 4K in our DSLRs but I can't see a use for it on a phone yet.

Picture credit - The Verge live coverage Here's the new iPhone 5S at a glance so far... 15% larger CMOS sensor 10fps burst mode at full resolution 720/120fps slow-mo video 28MP panorama Auto image stabilisation picks sharpest shot out of 5 Dedicated camera button New F2.2 lens with 5 elements TrueTone flash uses LED with variable kelvin temperature to match subject, gives better skin tones First ever smart-phone with 64bit processor, the Apple A7 2x faster CPU than iPhone 5, 40x faster than original iPhone 5x faster graphics than iPhone 5, 56x faster than original iPhone Dedicated co-processor for motion, the M7. Motion analytics able to determine if you are walking, driving, sitting still Touch ID finger print scanner based touch security Full details, opinion and analysis to follow...[url=http://www.eoshd.com/content/11122/new-iphone-5s-at-a-glance-isight-camera-gets-120fps-slow-mo]Read the full article here[/url]

Olympus have announced a new flagship Micro Four Thirds camera, the OM-D E-M1 which goes head to head with the GH3 but without any of Panasonic's focus on video. The camera offers only one frame rate at all resolutions - 30p. [url=http://www.eoshd.com/content/11115/new-olympus-e-m1-with-moire-reduction-but-no-24p]Read the full article here[/url]

"Moire reduction" image processor.   Shame about the codec. For sake of a couple of lines of firmware code they have lost a bunch of customers.   Nice stills camera though. If only Canon's were this 'ahead of the technology curve' and if only the Olympus had a full frame sensor. That would be the perfect camera almost.   I have higher hopes for Sony. Big 4K push. Full frame NEX with Olympus 5 axis stabilisation.   As a side note - nice marketing and web design from Olympus. At least someone in their US web design team has a clue if not in their video specs department, if indeed they even have a department.

  I think the update does maybe show the virtue of Adobe's team pulling together to focus on CC, or at least a big push on to establish Cloud.   Let's hope After Effects gets a similar update for better Cinema DNG support, as at the moment I have to delete the WAV file (from Blackmagic) and other metadata files (LUTs on KineRAW MINI for example).

Above: the Canon 5D Mark III with Magic Lantern raw video recording. Check out the EOSHD book here Due to demand Adobe are finally putting Cinema DNG support back into Premiere. What's more it is a fully featured implementation with realtime playback like Resolve and GPU accelerated debayering. Adobe's existing debayer of Cinema DNG gives the best image quality out there so I have high hopes for Premiere come October. [url=http://www.eoshd.com/content/11112/cinema-dng-support-coming-to-adobe-premiere-cc-in-october]Read the full article here[/url]

It looks like Canon's image pipeline has improved with the 70D to get more detail out of the raw feed from the sensor. It's sad though that their new sensor line skips, the moire is very bad on it.   The BMPC footage needs more grading work than was on display here. Blunty should have applied a LUT or put it through Resolve.

  They grade differently.   That is to say - The raw image data responds differently to controls in Resolve or ACR, etc.   You have to match by eye and it is time consuming, for each shot. No ACES compatibility for Canon yet.   You have to be very careful to match them. I wouldn't be tempted to mix raw cameras on a shoot really, it's a pain.   With a compressed codec the cameras are all pretty much matched to Rec.709 and off you go.

KineRAW MINI now has 1080/60p and 2K at 48p in firmware update.

I already tested the MINI's sensor in the larger S35 model and there were no white blobs or black spots, as far as I could see. Need more time with the camera to dig deeper, that time will come in 1-2 weeks.

Slashcam in Berlin have tested the camera. They suggest the debayer isn't as good for ProRes on the Pocket as it is on the BMCC and it affects the colour science.   Either way can't see this camera getting much use from me vs the 5D Mark III raw. It doesn't stand up to it.   The shipping delays and imaging flaws are really quite baffling, and I think Blackmagic need to take a long hard look in the mirror.

All credit to those who made it, that it isn't for me doesn't take away from the achievement. Just think heavy shoulder mounted small chip cameras are the past and small large sensor cameras are the future.   The SI head they are using can do a nice image. Danny Boyle used it on Slumdog I believe.

Hmm. So dated compared to what is already available for much less money.   Don't like the size and weight.   Don't like the 2/3" sensor with 11 stops.   Don't like the idea of a Mac Mini in the back. They're not designed to be portable machines. They will break.   Don't see the image quality advantages over a 5D Mark III with raw, KineRAW MINI or BMCC.   KineRAW MINI is miles better ergonomically.

  I'm interested to test the BMCC MFT at IFA. Let's meet for a chat next week.

Hope I am this fast when something actually interesting happens!

SLR Magic are working on a 1.33x anamorphic adapter. Hong Kong based shooter Edwin Lee has tried it out. The lens is 'compact' and attaches to the front of your prime. SLR Magic say it works best currently with their 35mm F1.4 on Micro Four Thirds and the Canon EF 50mm F1.4 on full frame. [url=http://www.eoshd.com/content/11105/new-slr-magic-prototype-anamorphic-lens-footage-surfaces]Read the full article here[/url]

Sony have some new cameras. The NEX 5T and A3000. The NEX 5T changes absolutely nothing over the 5R aside from adding NFC (near field communication), something Sony felt so important (communication with smartphones) that they rushed out a new model for it. The A3000 has the form factor of a Canon 100D DSLR, or rather the Panasonic G6, it being a mirrorless E-mount camera. Both feature 1080p video modes with 60p and 24p. Along with the new bodies Sony have announced some new lenses for E-mount including the 18-105mm F4 and Zeiss 16-70mm F4. [url=http://www.eoshd.com/content/11091/sony-release-old-camera-with-new-badge-nex-5t-and-entry-level-a3000]Read the full article here[/url]

  About equal. Multiply by 2!

Yes but seems a bit worse with Speed Booster. Nothing you can't fix though.

I don't know. I think I will stick to my GH3 for my Micro Four Thirds glass.   And at £1500 the BMCC mFT is an option.   I can't risk having shots ruined by big white invaders from outer space.

  Yeah, disgusting isn't it.

The blackspotomatic.   The black holes are fixable in post, you just have to turn them white with the tracker in Resolve. It is hard if you're not familiar with the software though.   The white orbs however are a major problem.   These are a hardware issue with the sensor. Fuji X10 suffered from it and Fuji's firmware update was unable to remedy it. They had to modify the sensor at the hardware level to fix it.