Andrew Reid

  I agree with you about Cinema EOS being a success story.   But it's very much a separate thing to Blackmagic and DSLRs.   Canon's consumer end of things is a mess. Not creative.   I have sitting side by side the Sony A7R and 5D Mark III... Honestly, the Canon just looks and feels like a thing of the past. Sad to say it but if it wasn't for Magic Lantern the 5D would have bit the bullet today. As a stills camera, just about the only thing it does that the A7R doesn't do as well is AF. On every single other metric the A7R outclasses it.   GoPro isn't really a niche thing... That is a massive market. Multi-billion dollar stuff. And indeed Canon are nowhere in it. Sony tried entering it but didn't really come up with the goods.   The story of the next few months is going to be a big one - the first proper 4K product releases and a lot of these are in our right on our street of interest at EOSHD, it will revitalise the DSLR video scene.   Let's just say Canon doesn't have an answer yet.   Their mirrorless is poor. Sold even poorer, until massive price reductions shifted some stock. They have no video orientated consumer DSLR style camera like Sony (RX10) or Panasonic. They are outclassed on the sensor side by Sony, who have 36MP and 14 stops dynamic range to 22MP maximum and 11 stops dynamic range from Canon, who used to lead on CMOS.   I'd love to be more positive about Canon but you can't deny the facts and the fact is they have stalled.

Looks like Vitaliy Kiselev has added EOSHD to another spam revenge list again.

What about the Sony RX10? Wouldn't it do the job? Built in ND filter, 24-200mm F2.8 lens, largish sensor, peaking, crisper detail in 1080p compared to D5300 and 1080/60p for slow-mo.

  Indeed helps to take the variables out of it and the nut behind the camera is a very big variable.   There's nothing sadder than seeing a talent being hamstrung by shoddy image quality.   On the other hand there's nothing wrong with choosing something which you're comfortable with and works well for you and arguably that's just as important as the image. If the 60D is working for you but the Blackmagic might cripple you because of the different design, then why change?   Gear choice is a personal thing and I don't begrudge anyone for choosing what they choose as long as they aren't restricting themselves unnecessarily through a lack of consideration of the options!   What I'd hopefully like to avoid in this thread is the blindingly obvious statements about talent mattering more than specs (even though they are BOTH important). There's no need to state the obvious over and over again like some are doing. It comes across as patronising and nobody gains anything from it in terms of new knowledge or inspiration.

  It was pretty cutting edge digital at the time. The DP for Danny Boyle on that film was very much into the early digital technology... A true trailblazer.

  If that's their mistake then let them make it. It's a pretty stupid one, to be oblivious of the obvious. Almost as stupid as discussing is.

Looks like he's just played a round of golf :)

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.