Andrew Reid

They own a ReWo cage (Wondo and Philip sold them some) but on this shoot it isn't used - I think it is part of the copter gimbal or a custom design.

[UPDATE: Sorry, have removed the article for now. An updated article & interview with Extreme Facilities will be online next week] Extreme Facilities who provided the BBC with RC copter drones for the recent Top Gear Africa Special have some behind the scenes shots of the GH2 and GH3 in action.

  Just to clarify the fixed pattern noise comes from electronic circuitry on the sensor, it isn't anything to do with gain or ISO. To add to that the Nikon picture profiles go extremely flat and really can bring up the shadows a hell of a lot. There's also the D-lighting feature, turn it off.   The answer is simply not to dial down contrast all the way and don't use a flat picture profile. Simple.   Grade in-camera with the required look baked in.

  Good point about anamorphic. Popular shooting format, yet no support on all the main digital cinema cameras or DSLRs (aside from Alexa Studio). It's bizarre. I've seen mega-budget music videos shot in 3.55:1 because even they couldn't get a 4:3 chip!

That sensor in the Nikon already does 4K video.   http://***URL removed***/articles/6531373190/interview-tetsuya-yamamoto-of-nikon   The sensor is capable of 2K (2048×1080px) and 4K (~4000px horizontal resolution) video and in the future we hope to incorporate [these functions]'.   The camera side does not.   There's no reason why a $3000 piece of hardware can't have the computing power to do 4K video in 2013 though.   The reason the Nikon 1 sensor can do 4K video is down to the fact it has a 24 channel digital read out. By contrast the D3, previous flagship DSLR at $6k had just 12 channels analogue read out, very slow and needs to be converted to digital after it has left the sensor. On the 1 series the conversion is done on the sensor in-line, instantaneously just after the light hits it. So you can get that data off very quickly. It shows in the rolling shutter too - far less than the competition in 1080p mode.   We're nearly there at consumer price points for 4K.   Even the GoPro is close! And that is the size of a matchbox.   Remember, resolution isn't everything. I'd be happy with 2.5K. Anything to finally step up from boring old 1080p after so many years. The Blackmagic Cinema Camera in raw should be the new image quality benchmark at $3000 even though it ships in such limited quantities, that is the current state of the art for the price. It doesn't make sense not to beat it does it?

RX100 sorry, great little camera. I get confused as usually the model with the larger number is the higher end one. Don't have the RX1, video is moire & aliasing hell on it and they TOOK OUT peaking. Ridiculous!

The Panasonic GH3 was a big update over the legendary GH2 and I am putting the final touches to my review (and a lot of other future material). I've been shooting a lot with it alongside by cinema cameras, the FS100 and Blackmagic Cinema camera. Where are the Panasonic pro cameras? Well the GH3 is $1300 and that leaves quite a large space above it for a high spec 'DSLR-type' camera from Panasonic. I'm getting more and more clues and info as to a possible high end GH camera, and if true this would be a dream for indie filmmakers and a brilliant move by Panasonic.   http://www.eoshd.com/content/9869/will-we-see-a-new-professional-panasonic-gh-series-camera-at-nab

      See the full specs of the Switronix TorchLED BOLT and accessories here LEDs are in my opinion the future of cinema lighting. Until now though I've not been too satisfied with the throw of light they produce. Too short, too directional and the character of the light isn't the most flattering. The BOLT has been designed with input from filmmakers and contains two sets of LEDs of different temperatures and you can mix the temperatures. What's it like?

I really enjoyed watching this as liked the stunt work, locations and props. Good as a POV piece. But I wish they'd used a GH2 with a regular wide angle instead - the fisheye and un-cinematic camera don't really do the shots justice.

So what is the future of TV? Well there's a very good chance it isn't 3D or 4K, and that TV panel manufacturers are heading for even tougher times. HBO's CTO (Chief Technology Officer) Bob Zitter is one of the most prominent TV industry voices to voice is belief that 3D and 4K are not suited to home viewing. His thoughts don't make good reading for Sony, Sharp, Samsung, etc... but is he right?

Maybe I've been living in Germany too long without a TV. These commercials don't bother me in the slightest :) But I think I know what you mean. For me it is more to do with the content and insipid style than the art direction or lack of it!

A lot of commercials are shot with the Alexa, or in 24p, and neither of those are dead. There's been a lot of shit paintings in the colour red but it didn't kill the colour. And so on...

The Flare Factory 58 is modified lens by fellow British filmmaker Richard Gale, and a regular member of the EOSHD forum. A few weeks go Rich sent me one of the first of the lenses, a Flare Factory 58 (serial 004). Humorously branded Dog Schidt Optiks, Rich is modifying Helios 44-M 58mm F2.0 lenses making versions with a unique character which can be customised on order. They are hand assembled and modified in England.

Tomekk - I see your posts and don't see the logic in them to be honest.   The 650D was a step back from the 600D in both build quality and features.   So the 700D has the crop mode back. Great. That means the 700D is actually the 600D with a new badge, 2 years later!   Is this progress, really?   My review of the 700D would be very short, in fact - I'll do it now.   EOSHD 700D Review   The Panasonic GH3 out performs it in every way and offers more features for a modest $400 more. The Nikon D5200 doesn't suffer from moire and aliasing and has better image quality in both stills and video mode than the 700D, video on that camera is on par with the $3000 5D Mark III yet it is a $800 camera, an almost identical price point as the 700D.   Those who require a Canon DSLR and have a bunch of EFS lenses can save the money and get the almost identical 600D. The new DIGIC 5 processor brings no new video functionality or image quality.   ENDS   And if the image quality is somehow miraculously good with the same sensor and processor as before I shall eat my words. There's no way Canon will allow this camera to be better than the 6D, 5D Mark III or (especially) the upcoming 7D Mark II.

I don't have any prejudices, just eyes.   That was the Christmas quarter.   October 25th 2012 - 36% net fall, 42% operating profit fall http://www.marketwatch.com/story/canon-profit-falls-356-well-below-forecast-2012-10-25

The Disp button on the camera Roger.

Try pressing the Disp. button and toggle 'clean mode'

  Well looks like that is DNG out.   I'll look for a good app which can convert the raw NEF files to DPX.

  The 6.5mm lens covers the sensor or did you crop-in slightly? Impressive if it covers.

Looks like we might have to use DPX format or TIFF sequences.   From: http://en.wikipedia.org/wiki/CinemaDNG   "CinemaDNG is different from the Adobe DNG (Digital Negative) format that is primarily used as a raw image format for still cameras. However, each CinemaDNG image is encoded using that DNG image format. The image stream can then be stored in one of two formats: either as video essence using frame-based wrapping in an MXF file, or as a sequence of DNG image files in a specified file directory. Each clip uses just one of these formats, but the set of clips in a movie may use both."

  Yep the choice is there. Own a DSLR and rent the expensive stuff. I've always found ownership more satisfying though, but it depends on what you do with the camera.

  I'm having the same issues with Resolve. It seems it reads the resolution metadata incorrectly from the DNG file. Maybe it needs to be converted to a more standard resolution like the 4K film Resolve preset of 4096 x 3112.   It is still rather odd however as DNG is a resolution independent standard and Resolve should work with it.   We need to find a way around this... Or they need to patch the app.

  Thankful for what? That the amount of work required bankrupts your company?   Logic isn't your strong point Leang.   If Hollywood wants the VFX community to flourish they need to loosen the purse strings.

  Execution is important... If you have an idea to execute. Let's follow your logic and execute on nothing... LAMAOAOAOO

There's a reason DSLRs were nearly the death of the rental market. Given that quality for that price, filmmakers saw no need to rent. Do you remember when Philip Bloom was shooting with the 7D? On Red Tails? The rental market was really going through a tough time because indies were using DSLRs instead of renting an EX1. Then the C300 came along and solved all that.   It makes sense to rent an FS700 if you need slow-mo, it makes sense to rent a F55 if you need a global shutter and 4K... And so on.   To rent a 5D and put an arbitrary time limit on your shoot and a daily overhead is silly when you could have owned one for not much more and shot with it for 3 years solid!