Andrew Reid

  Oddly no! Well - by definition raw is the full res of the sensor. You can even enable JPEG only or JPEG + RAW and the number of frames it stores are the same. I think the sensor always has to drive those 30 raw frames to the buffer for the JPEGs to exist, which is why simply enabling small JPEGs in the menu doesn't help jam more frames into the tiny buffer.   Having said that let's give the little V1 some credit - most high end DSLRs have even smaller buffers!

  You're right.   We've had some emails back and forth and he kindly uploaded the original files. They're much better.   A follow up article is in the works...

I said ALL that in the article dude! It is the V2 you need for manual exposure controls in burst mode and adaptable lenses.   Considering the clips are so short and exposure is locked for the shot I am fine with the P mode burst of the V1 for now.   Not considering the V2 until I try this first - it is 3x more for practically the same thing.

Easy to find everywhere. Check the eBay link on the article.

Yes it does the same but adds nothing new apart from the manual control in burst mode. Video mode and 400fps are the same and they didn't increase the buffer size. Another disturbing trend - yearly follow up models that don't progress the technology.

It's a very nice creative tool as it is. For the price it is a must-have.   It is about time someone gave us Aptina Unchained though.   This sensor in a consumer camera is a tragedy.

I believe it is 14bit off the sensor, 12bit in the file.

http://vimeo.com/61441075 Above - the compressed 2.4k version of 4K raw from the Nikon V1 by Javier Sobremazas There's a dark horse in our midst which very few know about, a camera which can shoot 4K raw at 60fps for $200.   Full article

GH2 and cage :) http://www.eoshd.com/comments/topic/1371-first-look-at-the-new-rewo-blackmagic-cinema-camera-cage/page-2?hl=top+gear#entry19312   Do you have a link to this episode on BBC iPlayer? Which series, episode number?   I'm going to watch it later today.

  Talking with the Ikonoskop guys yesterday, an interesting observation came up.   One of the reasons CCD looks so film like is that the noise pattern is completely randomised.   On CMOS it is uniform and you can always notice the fixed pattern of noise imprinted on the image.   A CCD sensor has grain like film and it moves in the same way as film grain.   Leica should be careful with this sensor - the DXOMark results don't look good (putting it below some $800 cameras).

It's becoming harder for full frame photographic cameras to compete with dedicated video cameras.   Once F0.95 on full frame was unique for video.   Now with the Metabones Speed Booster I am shooting with the FS100 at F1.0 on an almost full frame imaging circle.   I think Leica need to be careful - if the video quality is sub-par then it shouldn't be on the camera AT ALL. Don't just bolt it on because they can. Leica's whole business depends on delivering the best possible image.   Video is very hard to get right on such a heavily photographic orientated product. The sensor and image processor just don't seem optimised for both.

  Thanks, I'd be interested in doing that. You will have mail soon.

http://vimeo.com/61304882 Catch the EOSHD interview with Leica's Jesko von Oeynhausenand and hands-on with the Leica M type 240 here The new Leica M (dubbed type 240) has a CMOSIS full frame sensor, and a first for a Leica camera - video. Not since the Leicina 8mm camera (EOSHD article) has a Leica product been viable for cinema. The Leica M of course is primarily a photography tool, but it is interesting to see if Leica have taken the same no-compromise approach to image quality in video mode as they have always done with stills. Furthermore Leica are a company with no high end cinema camera range or video camera market share to protect from themselves (yes - never did make sense that did it?)  

The tint you can compensate for in post, but somehow the response of the sensor has an influence even on raw.   We went into the test knowing how to expose the Ikonoskop - it is true that you expose for the highlights, whilst the BMCC is the other way - it benefits from being exposed more to the right.

  Partly yes but look at the 2nd shot in (the musicians). That is more towards magenta.   Like I say there is a very fine line in the colour tint in Resolve with Ikonoskop footage compared to the Blackmagic raw.

  Weird isn't it... The BMCC's sharpness and dynamic range seems to work against it in this comparison.   It just seems too smooth and broadcast like.   The Ikonoskop is a bit quirky and not just when it comes to the image, which is why I love it.   But it is VERY hard to put your finger on exactly WHY the image is so cinematic.   We used a very nice Zeiss 16mm lens on it which will contribute, but the colour and feel of the image is mainly down to the camera.

  Certainly more than the other blogs who leech from 100 RSS feeds and sell ads around other people's content :)

http://vimeo.com/61364609 Read more in the first part of this article Back in November I tested the Ikonoskop A-cam dll with Rob of Slashcam.de and Ludwig Reuter of HD Video Shop here in Berlin. We spent a few hours comparing it to the Blackmagic Cinema Camera - here's how it turned out.  

  It's a stupid question and you know it Mark. I suggest you look again at the definition of censorship and murder.   You're suggesting it is censorship to ban snuff movies and the showing of such films.   It is not censorship at all - a real murder is criminal activity.   Are you saying the police are trying to 'censor' criminals or 'prevent murders'?   You can be anti-censorship of the arts and movies as well as being anti-murder.

Some questions mate... I take it the Schneider needs the prime lens to also be focussed to the same mark? How sharp is it at fast apertures? What aperture would you consider it L series standard sharpness? Minimum focus distance of 3m / 10ft judging by the pics - am I right - any thread for diopters?   The clamp - is it height adjustable and would it be big enough to fit around a 77mm barrel? I'm looking for a bracket for my Iscorama 54 so that it doesn't shift around with a follow focus. Currently I have a basic support cradle for it on rails, but not a full bracket.

Nobody blamed the directors on Oscars night.

  It was the right platform to complain on. Got people's attention didn't it?

Actually Seth MacFarlane was so heavily watered down he was almost turning translucent. The main problem was that he wasn't very funny, and that he was crass and not very likeable. I don't find the frat boy humour very cleaver to be honest. If only more stage time was given to the people the ceremony was meant to be celebrating, and less to him, singing and dancing. It was like the Tonys.   He was a bit like a slightly insipid glossier version of Ricky Gervais. At least when he's offensive, it's funny.

  Again... It's his creative license.   Vampires don't exist Mark but you're making a Vampire film!   It is what makes us filmmakers... creating our own stories. Why chastise Tarantino for doing the same?

So convert the DNG to CineForm on your $600 PC. Hardly a big ask??!