Andrew Reid

This interactive camera is pretty good.   I think Danfung Dennis is working on something similar, no?   [url="http://fstoppers.com/360-degree-panoramic-video-next-big-thing-video?utm_source=&utm_medium=&utm_campaign="]http://fstoppers.com/360-degree-panoramic-video-next-big-thing-video?utm_source=&utm_medium=&utm_campaign=[/url]   Would be interesting to see this used in a run & gun documentary around people, dialogue and a narrative rather than just as a vehicle POV camera.

BMCC is 12-30v. GH2 is more critical and narrow when it comes to voltage and I don't know what professional external batteries can be used with it if any. There are some DIY options I've heard of over the year but I've not tried any of them. At least interchangeable GH2 batteries are very small and light to carry.

Thanks, how does the pricing compare to The Music Bed? http://www.themusicbed.com/#/pricing.php

[quote name='andycorleone' timestamp='1354185665' post='22622'] Andrew, I think you have some facts wrong, Most information I have found reads the F55 can do 4k internally but in order to record RAW you need the external recorder [/quote] You're correct. What I mean is that it does 4K raw 'onboard' not over 3G HD-SDI, so the F55 and R5 raw box is basically one unit. I've corrected the article and made this more clear. The internal codec that comes with the camera brain is 10bit 4K XAVC 4-2-2 at up to 60p. A lot better than the 8bit 1080p 4-2-2 at up to 30p on the C500!

All the signs are that Tim Cook's Apple is becoming like John Sculley's Apple all over again http://www.forbes.com/sites/erikamorphy/2012/10/30/this-is-tim-cooks-apple-a-company-where-mini-steve-gets-the-axe/ And let's not mention IOS 6 maps shall we? I still admire the products but they are becoming more corporate and more numbers driven by the day, in my view.

Pricing of FCP X or the advanced 64bit architecture wasn't the problem for me. It was they they threw the baby out with the bathwater. I think Apple have a guy, possibly Tim Cook who is running a finger through the balance sheets and looking at how much effort they are spending in each area and for how much return. The pro divisions in Apple are not generating as much money as the consumer divisions, that goes without saying. The 17" MacBook Pro got killed because it only amounted to 3% of MacBook sales. Endlos - What about the stories of the Logic team being let go and their pro apps division staff decimated? Not a sign? 17" MB Pro scrapped not a sign? Steve Forstall has gone too! It is clear to me that there's someone very high up at the company who doesn't seem to see the benefit in the cutting edge pro stuff or a flagship model, it all seems to be about capturing as much of the consumer market as possible and focussing all their efforts on that. Why else bring out a smaller iPad, but not a new and much needed Mac Pro?!

[url="http://www.eoshd.com/wp-content/uploads/2012/11/switronix-pb70-blackmagic-2.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/11/switronix-pb70-blackmagic-2.jpg[/img][/url] [url="http://www.adorama.com/1/1/164096-switronix-powerbase-70-battery-pack-pb70-bmcc.html?KBID=66885"]You can find the Switronix PB70 for Blackmagic Cinema Camera at Adorama for $299[/url] When the Blackmagic Cinema Camera was announced at NAB many DSLR users were quite concerned by the lack of interchangeable battery and the short 1 hour run time on one charge. In practical reality it is one of the best features.

[quote name='endlos' timestamp='1354194534' post='22628'] "ProRes which has become something of a staple of the film industry despite Apple reversing, bizarrely, away from committing to their pro tools division. " And where is the evidence of that? Your not referring to the tired and outdated arguments against Final Cut X are you? [/quote] It isn't just FCPX. No Mac Pro update and decimated pro software team. Logic may be discontinued or turned into 'Garage Band Pro'. Logic X anyone? No thanks.

Some nice shots in the C100 vs GH2 test but yes the GH2 is not being used to the optimal level. The colour is off and the lenses he's using on it are crap - kit zoom in some instances!! The Samyang 35mm F1.4 is better than the Samyang 24mm F1.4 on a crop sensor. I do like the C100's image especially the colour but again the Blackmagic has the more film-like appeal.

[quote name='Paul Watt' timestamp='1354173840' post='22608'] Interesting cameras, to be sure. Global shutter would be so sweet. Gotta say though, that the Epic can be built much much smaller, and I can edit 4K RED raw on my laptop. Bet the image is insanely amazing, but I have a feeling the workflow will be slow, very data heavy, and complex in comparison. [/quote] I think the F55 is smaller than Epic, no? Don't forget you have 4K H.264 on the Sony. That should be editable on a laptop like Canon 1D C MJPEG for fast delivery. I am sure their raw codec will perform similarly to the other ones out there. NVidia CUDA makes mincemeat of raw these days, even on a laptop (Alienware with GTX 580M or MacBook Pro Retina).

Thanks dude. Euro pricing here (sourced by SlashCAM, page is in German: http://www.slashcam.de/news/single/Offizielle-Euro-Preise-fuer-Sonys-PMW-F5-F55-und-Zu-10296.html) [color=#000000][font=arial, sans-serif][size=3]PMW-F5 15.340 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]PMW-F55 27.804 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]AXS-R5 S35mm F-series External RAW Recorder 5.206 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]AXS-CR1 Access Card Reader 549 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]AXS-512S24 Access Card 512GB for AXS-R5 External Recorder 1.535 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]SCL-PK6/F CineAlta PL Lens Pack (6 lenses) 19.895 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]SCL-PK3/F CineAlta PL Lens Pack (3 lenses) 11.118 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]DVF-L700 7″ LCD Viewfinder for F-series 4.113 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]DVF-L350 3.5″ LCD Viewfinder for F-series 2.925 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]DVF-EL100 0.7″ OLED Viewfinder for F-series 4.113 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]BP-FL75 Olivine Battery for F-series 470 Euro[/size][/font][/color] [color=#000000][font=arial, sans-serif][size=3]BP-L90 Olivine Battery Charger for F-series 766 Euro[/size][/font][/color]

[url="http://www.eoshd.com/wp-content/uploads/2012/11/sony-f55.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/11/sony-f55.jpg[/img][/url] [url="http://www.fdtimes.com/2012/11/27/sony-f5-and-f55-96-page-report/"]Jon Fauer ASC[/url] has put together a 96 page report on the Sony F5 and F55. Along with what we now know here is my analysis of the Sony F5, F55 and that other competitor - the Canon C500.

http://www.youtube.com/watch?feature=player_embedded&v=LO7rxitFLZg Thanks for [url="https://twitter.com/SmackChopG/status/273979426075713536"]G Xiong on Twitter[/url] for this one :)

Heads are squished!!? OH GOD NO!! Glad you liked it Matt. Slow-mo is nice to have on the GH3. I think rolling shutter is almost at FS100 level with it. That is to say - very very good!

Wanted to draw special attention to this http://vimeo.com/53000431 I really do admire the way Anil Rao shoots. Great mood and ideas. Well done!!

I'd love to try some. I'll get in touch but PL to EF mount, hmm not sure that will work.

I really need to get out and shoot properly with my FS100 and SLR Magic T0.95. Did a very brief test at 3am and it looked great but yet to shoot in anger with it. The SLR Magic T0.95 is a good option for anamorphic too, I shot this with it on the GH2 a few months ago. http://vimeo.com/38339934 The more lenses like these Hawks, SLR Magics and Voigtlanders we filmmakers get, the more creative for all concerned.

They're great rental options for a special shoot though. More than anything I just love the whole philosophy behind the lenses. Whilst the corporations are making everything perfectly sharp, contrasty and clinical these guys are producing artisan cinema lenses with a 'dreamy' wide open look and two coatings, one for a low contrast and higher levels of flare. MUCH NEEDED!!

[url="http://www.eoshd.com/wp-content/uploads/2012/11/FDTimes-VantageOne_coated_uncoated.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/11/FDTimes-VantageOne_coated_uncoated.jpg[/img][/url] These look like they're going to be a great rental option for creative filmmakers looking for that dreamy low light look. Hawk, famous for their anamorphic lenses have launched a new range of standard spherical cine glass. The aperture is F0.95 following in the footsteps of Voigtlander with their 25mm and 17.5mm for Micro Four Thirds. However Hawk have gone all out and done a massive range, and what is more these cover Super 35mm in PL mount. There's not only a 17.5mm and a 25mm but a 21, 25, 32, 40, 50, 65, 90 and a 120. I also highly recommend the SLR Magic T0.95 50mm for those with low light kings such as the Sony FS100. Leica M easily adapts to E-Mount. The Hawks however are PL so you can use them on the other low light king, the Canon C300.

Holy s*** This is going on the front page. Great find Andy!!

There are some technical advantages of full frame in terms of image quality. Of course resolution is one of them, and maintaining resolution along with better low light and dynamic range. We certainly don't need any more 22MP or 36MP full frame sensors for video though. 10MP is optimal.

You have mail Roald :)

[quote name='Bruno' timestamp='1354127481' post='22556'] I've worked with many different directors and cinematographers, and on many occasions there have been problems with the projectors or movie player software that causes slight aspect ratio distortions when we're watching dailies, and no matter how subtle these are, it is enough for them not being able to judge the work anymore and rather look at it later once the issue has been addressed. It's that much of a problem. [/quote] I guess it is not so much of a problem for me. Nearly every anamorphic work I've shot has been framed on an unsqueezed LCD and I do the squeeze in my head. Maybe I am compensating in the same way when I watch this footage. Maybe I need to step back from it and do a 3.55:1 version. Like I say, conversing about it has broken my spell a bit.

[quote name='ipcmlr' timestamp='1354119251' post='22539'] I did find the first "summer scenes" changing squeeze distracting. I think it was because at first I didn't know that it was not completely unsqueezed to 2x so I kept on thinking "why is some of it unsqueezed 2x and some of it not unsqueezed fully?" After those first 8 or so shots I was fine with it guess. Thanks for the video. [/quote] After the first 8 shots it is less of a mixture of cropped and anamorphic so there isn't that reference point to compare the squeezed footage to. Maybe that is why you accepted it more later in the video. The summer sequences involve a lot of vertical planes shot from quite far back and nearly 60% of the first 25 seconds are aspherical cropped. Again this test has been useful for me to see how far you can intercut and break the rules without it becoming a problem for the viewer.

[quote name='Bruno' timestamp='1354116600' post='22535'] IMO faces or full body shots is what gives it away the most. In the closeups of her shorts when she's walking, for instance, it's hard to tell since I don't know her, it can make her look thinner or chubbier if it's wrong, but doesn't feel as blatantly odd as a face or full body shot does. I totally understand it's a look to have it stretched or squeezed, I just don't think it cuts well with undistorted footage, unless you go further and use more extreme distortion, then it would be clear it's a creative decision, this way it looks like something's wrong with it. [/quote] Well the close-up of her shorts was shot on the 135mm F2.0L and cropped from 16:9. After all this talk I notice the distortion far more now. Funny thing is, even whilst editing it and watching it a thousand times it didn't bother me. This from knowing that I was coming off the shoot with both aspherical and anamorphic footage that I needed to intercut. Obviously I noticed it but bother me it didn't because I liked the effect. I still find the slightly taller figures more attractive than odd, but one way around this would be to do an edit using split screen for the 16:9 sections as these (uncropped) fit perfectly side by side into a 3.55:1 aspect ratio, and then you can have the full 2x squeeze on the anamorphic LOMO shots. This is an experiment and it is interesting to see how people react and what new ideas it might generate, so even if I don't agree with some of you in terms of the subjective viewing experience (I don't find it jarring for example) I do appreciate the points of views a lot.