Andrew Reid

The chipworks link is on this very page. Scroll up.   Your flyer refers to the 1011, the old 10MP in the V1.   We're talking about the 1410 and 1411. The former is in the V2. The latter is similar in spec but now available on the open market.   What is so hard about this?

On that DR chart the Fuji X Pro 1 never reaches super white. It may have a smooth roll off in the highlights but it isn't a free lunch.   Also, these are raw photographic tests remember, so little to no meaning when it comes to video mode.   AR1411HS is not what is printed on the V2's sensor when Chipworks opened it. Says AR1410.

In raw stills mode it is better than or on par with all but the new Nikon APS-C cameras in low light especially when you factor in a T0.95 lens like the SLR Magic 25mm.   Video mode and the D5200 is better in low light.

  Nice find. So AR1410 and AR1411HS specs seem pretty similar to me, maybe they have just tweaked the Nikon sensor and put it on the market or maybe HS does indeed stand for 'high speed' and it is a faster chip, 1080/120p etc.   I always assumed the sensor was always capable of high frame rates just that Nikon couldn't be bothered to write the firmware to support it :)

  This is all quite disappointing.   EF-S and APS-C lenses were a prime selling point of the Micro Four Thirds version of the Speed Booster.   When it was announced these were supported, no? What's changed?

Great to have you here Thomas.   Good reasoning on the vari-ND. You will have my $200 soon :)

There's nothing better in the price range. I'd keep the Canon lenses as they will be great on the Metabones Speed Booster. However it is delayed and there's not a confirmed release date for it yet unfortunately.   In the mean time you can use the $200 Olympus 12-50mm until you're ready to get the Metabones or invest in good lenses. If you need low light performance, a cheap 35mm F2.0 or 50mm F1.4 from eBay will work for you whilst you wait to use your Canon glass again on the GH3.

  And you know the sales figures.... Riiiight.

  They put in what they need for stills, and see video as a bonus. When they come to do a proper video camera I am sure they will ensure a margin of at least $10,000 :)

Ah got you. 79db still a nice improvement on the old sensor which was rated 66db.   I wish they'd just use stops!

  Not the V1. It is 14MP so likely the V2. (This announcement was made yesterday by the way)

  On the EVF:   OLED is certainly a superior technology to the panel used in the GH2. It doesn't do the rainbow-flicker when you pan, the contrast is far higher, you get inky blacks with it, the new panel is 16:9 so suited to video and very wide. Colour from the OLED panel is richer and deeper although different in tone to the main screen. The resolution isn't quite as crisp as the GH2 though, you're right.   The main thing that lets the EVF down is the optical side rather than OLED. It does smear too easily at the edges when your eye isn't dead straight on. All EVFs do this including the GH2 but on the GH3 it is particularly easy to get blurry edges.   On the dynamic range, I never said it could compete on same level as Blackmagic raw with 13 stops, so not sure what this refers to.   Thanks for comments!

  Indeed they should, but I don't think there'd be enough room for both in the adapter. Maybe in a medium format adapter.

  It could be a wheel with different NDs rotating over the sensor, or it may be a vari-ND (two polarisers) that flip down over the sensor when in use, and up again when not. Either way it is much more convenient to have these in the lens adapter or camera, and not have to add them in front of every one of your lenses on a shoot.

Today sees the announcement of a new DSLR sensor from one of Nikon's recent sensor supplier's Aptina which has a headline spec of 4K video at up to 80fps. The highly rated company says it is 'combining DSLR image quality and 4K digital cinema' with the new AR1411HS sensor. Along with Nikon being on the record for wanting to add 4K video to future Nikon 1 mirrorless cameras, could the new Super 16mm sized Aptina sensor pave the way for them to do a Cinema EOS style range and 4K on DSLRs? [url=http://www.eoshd.com/content/10158/could-nikon-be-about-to-enter-digital-cinema-market]Read the full article here[/url]

[media]http://vimeo.com/63910035[/media] First 1.50 minutes is sample footage, you can fast forward to 1.50 for the technical info This is something I've wanted for a long time! Focus and exposure are the most important things on a movie camera yet DSLRs don't have a built in ND filter and you're often left to shoot at ugly high shutter speeds such as 1/1000 in bright light to control exposure. With this adapter you can add a variable ND filter wheel to any mirrorless mount camera (E-mount, Micro Four Thirds) effectively adding the main ergonomics advantage of the Cinema EOS C300 and Panasonic AF100. [url=http://www.eoshd.com/content/10149/holymanta-the-nd-filter-lens-adapter]Read the full article here[/url]

  This is a good point. Dynamic range in video depends more on how the sensor data is treated, how it is downscaled to 1080p and the codec.   Don't read too much into DXOMark.

The PureView branding dropped for EOS, a trademark of Canon? I find that unlikely although there IS a Volkswagen EOS car.   I've corrected a few things in the post - the sensor isn't Carl Zeiss, it is by Toshiba. The lens is Zeiss. The source of the news is PetaPixel.   I have the PureView and it really is an amazing camera module, and deserves a better phone. If they get the phone right I may well replace my iPhone with one.

The topic title is highly misleading.   SLR Magic's current lenses the 12mm F1.6, 25mm F0.95, 35mm T0.95 and 50mm T0.95 HyperPrime CINE are original optical designs.   I have edited the title.

  C100 vs GH3 coming next week.   Also Philip Bloom has already done GH2 / C300 resolution comparison shots.

  Thanks for this, very nice to see rolling shutter measured so clearly.

  The EVF panel technology is superior on the GH3 but as noted in the DPReview the optics are smeary at the edges if you wear glasses or don't look directly through the centre. I get the same on the NEX 7's OLED viewfinder and on the OM-D E-M5 so it is not a problem unique to the GH3's OLED.   I'd like to see the optics and eyecup beefed up for future models and articulation, if that requires a yet still larger body so be it. If you want a Pocket Cinema Camera sized camera there are plenty of options, yet never truly pocketable due to the optics. I'd rather have the better handling than the cute downsizing.

  I'm currently using Portrait but without turning contrast down. I leave that in the middle. Saturation too. Sharpness I dial right down to -5 and add in post. Noise reduction I also dial right down. I use 1080/25p IPB 50Mbit rather than ALL-I. Saves card space and looks a bit better.

  Well there's certainly no touching the image quality on the Blackmagic Cinema Camera for the price. Although the Pocket version won't have quite the same amount of detail as 2.5K raw on the BMCC it will maintain similar ProRes 1080p results and they are also DSLR beating.   The Pocket Cinema Camera sensor is smaller than the GH3 by quite a considerable margin though so the look of your current M43 glass will change, and the main advantage with the GH3 is that the workflow is much faster and the ergonomics far more convenient. You get more features too, like 1080/60p, audio-meters, etc.   Even if you don't edit in raw, the Blackmagic cameras all urge you to spend hours in post tweaking the colours. With the GH2 and GH3 I hardly ever felt the need to heavily grade the footage so I worked far quicker.   If you're shooting a documentary I think the GH3 wins.

For those asking for a chart test, Slashcam did a scientific test of the GH3 with regards resolution on a chart, aliasing and moire. Very good test but the article is in German so you will need to use a translator. http://www.slashcam.de/artikel/Test/Panasonic-DMC-GH3---Messergebnisse--alles-.html