Andrew - EOSHD

  Raw2DNG has a lot of yet untapped potential. Depends what direction they take it in. What would be great is a quick way to demosaic the raw files with AMaZE, output to ProRes quickly.   Raw2DNG could have controls like Rawtherapee, even false colour suppression, but work from the raw files instead of the DNGs, cutting out a transcoding step, and give us ProRes to edit from.   It could also have an option to output flat LOG ProRes to make it more gradeable.

The moire and aliasing on the 50D is nowhere near as bad as it is on standard Canon DSLR video modes.

  A good way of crystallising why I think Blackmagic are in the wrong here.   Last year it was different. Sensor supplier made an error with the dirty glass, Blackmagic helped them fix it. Or so the story goes.   This year it is nothing but a complete balls up, and I'm not talking about the Pocket camera delays - we'll see on that one at the end of the month - no I'm talking about the fact that even a year after it was due to be in stores, the original camera is still made in low quantities and the MFT version is only just starting to ship, again in small quantities. It is an abject failure.

Hopefully the faster new SD card standard will encourage future DSLRs to have faster card controllers, and possibly higher quality video out of the box - 10bit LOG in ProRes 4444 format would be just fine.   I don't absolutely need a raw workflow for everything (much as I would love it) but I absolutely DO need the image quality it is giving me. It's incredible.

No the 12-35mm is very good, just as sharp as a prime. You said it yourself - versatility and never shoot lower than F2.8. The main reason to go for a prime is the fast aperture.   If the 12-35 was a low end lens I'd say go for the prime but it isn't.

It covers Resolve Lite workflows and others which work with FCPX like ProRes and CineForm, extensively. Nearly half the book is about workflow.

Thread cleaned and off-topic posts removed.

  Well we already can do that pretty much, and it won't affect Red because they are catering to a much higher end market.   Talent, ideas and creativity is still the dividing factor. It always was. That doesn't mean to say gear doesn't matter. It does, and it is a fantastic opportunity we've all got as filmmakers to make use of these $400 or $1000 cinema cameras.   However you must take into account marketing and promotions into account, and the online world. Your film can be as good as you like but if you can't make money from it and nobody sees it, that's a problem.

Install Magic Lantern and use their crop mark masks, you can also make your own in Photoshop.   Works with normal video mode as well as raw.

  Indeed. The silence speaks volumes.

  You may want to look at WHY they are trying to cover their ass.

"Every variant", and said in context of a discussion about the Pocket Camera.   If he didn't mean that he's free to correct me, but you can't exactly blame me for my interpretation of English.

The new 14-140mm F3.5-5.6 is very nice. It can be had cheap with the G6 in a kit, if you sell the G6 body and keep the lens.   I paid £750 for the kit at Manchester airport, granted duty free but not far off prices you can get elsewhere.

  Really? B&H has every variant of BM camera in stock including Pocket and 4K? Very strange comment, from a strange new user.

  Not sure if you noticed but Magic Lantern did 2 months ago.

Had to divert to Canon land for a bit. I'm still working on it. Will be released within a month.

2nd year running! Completely unacceptable.   Blackmagic are risking serious reputation damage with this.

  Shit, meet fan.  

I'm releasing today a special 50D edition of my extensive 100+ page book about shooting raw video with Magic Lantern. Get it here! [url=http://www.eoshd.com/content/10798/eoshd-50d-raw-shooters-guide-now-available]Read the full article here[/url]

Really nice cage. I have their BMCC cage, both design and materials are first rate and it's light.   $99 for this is a steal.   Looks like the camera is starting to trickle out. The big question now is in what quantity and to whom!

I can understand Blackmagic wanting to prioritise the US market.   However, it isn't a very professional camera launch if you can't even supply the 3 major markets - Europe, Asia, US.   I think the root cause of this is that the scientific CMOS sensors aren't really made for mass production cameras.   Blackmagic should source from Aptina or Sony instead.   CMOSIS should be able to ramp up pretty well though. Yet there's no sign of the 4K model is there?

Only heat stops the Hero 3 Black Edition from doing double the stock frame rates.   Pretty amazing technology in a matchbox...   http://www.pocket-lint.com/news/121586-gopro-hero3-4k-capture-at-24fps-not-yet-possible-overheating-would-pose-a-problem  

Maybe there's been a bit of a relationship breakdown with CVP. B&H get a camera. Small dealers in Germany claim they're getting deliveries. But CVP feels the need to put this out and nor have they any demo units.   The plot thickens.

I've been testing this today and indeed the dynamic range is insane, proper Alexa league stuff.   The problem is, I don't believe the image is usable yet.   http://www.eoshd.com/uploads/5d3-hdrx.jpg   Alex says he will optimise it but it needs very complex maths.   The problem is, some sites out there have jumped on this like it is a free pass to 14 stops of DR. It isn't. That's what happens when the people writing the hype-articles never shoot or test anything with their own two hands before blogging it.  :wacko:

David, have you got more info? Which dealer was the Pocket camera delivered through?