Andrew Reid

Thanks Bruno but I have edited your post. Main topics cannot consist of just an URL leading people away from the forum to find out what the topic is about. You have to put more effort into the post and put the info in, along with your opinion of it if you have one.   Dan's site was the first to run this article so I have changed the URL to point at him. Only fair the source gets the credit.

  Tried the Helios 44-2 with it, looked pretty much the same as the Nikon and Olympus OM. I didn't use it in the end, partly as wanted to try something new and partly since the pancake is short and stocky, bringing the weight of the lens closer to the mount with less leverage.

Set the brightness to strongest setting and turn it off auto brightness.

Still would rather take the benefits of OLED technology than this slight disadvantage.   It is more like a colour temperature shift to cooler tones than a green shift. I do see it, more like at 30-45 degrees than 10 but it hasn't really bothered me because I use the screen for composition and exposure not colour correction!

Most affordable for locked down shots like in Zen (if you don't mind missing a moment with the focus) is the Kowa 8Z. As good an image as an Iscorama but without the single focus barrel ability.   You are looking at 10-20 second shot set-up time with the punch-in focus assist with one but the patience is worth it. The lens can be had for $300!

It isn't a defect.   All LCDs shift colour and contrast when viewed from an extreme angle.   Since it is an articulated screen just angle it straight to your line of sight!   An articulated OLED... Want better? Wait till the 2020 technology comes out!

  Thank you Robin.   Also great to see a profile pic and real name - how it should be on the forum.   I have tried the Leica R glass but the 35 2.8, 50 2.0 and 90 2.8, not yet the 35mm 1.4. But on S35 with the Iscorama 54, I have no trouble with vignetting at 35mm with most glass I've tried.   Go for a small front element on the prime. The Voigtlander pancake lenses are worth investigating. The smaller the front element of the prime lens, the more it seems to avoid a vignette at the same focal length to a lens with a larger front element.

No the cinema look doesn't depend purely on an aspect ratio, but for me - personally speaking as ever on EOSHD (my own site) - I prefer the wider aspect ratio to that of a television. Also I have no problem with 1.33 (4/3) if you stick an anamorphic on it. I want this on the Blackmagic Camera desperately. The GH2 in 4:3 with the hack is basically upscaled VGA!!

http://vimeo.com/59539071 The Lens Whilst Canon L lenses are like a fleet of company Lexus cars. This isn't really what I want in my films. I need something different. Something with character. For this reason I've long been using anamorphic lenses. I recently shot some test footage with the Iscorama 54 anamorphic. This is essentially an Iscorama 36 but instead of a 36mm rear element it is 54mm. Even though the whole lens is double the weight, not as sharp and almost triple the size I like it because it has character.  

There's a lag of 1 second from when record button is pressed and recording begins. More worryingly there's a 1.5-2 second curtailment at the end of the clip so if you stop recording a stopwatch on 10 seconds, the end of the clip will show the watch on 8.5 seconds.   This was in the pre-production model too and I told Panasonic to fix it.   Seems they did not do this.

I very much doubt raw is coming to a Canon camera circa $4000!

  Coming very soon.

That was in a different CR post.   "Canon will be announcing new cinema lenses and a new cinema camera for NAB 2013 we are told. The camera will sit somewhere between the EOS C100 and EOS C300, but will not be a direct replacement for the EOS C100. It will have both a PL and EF mount option. At present, no specifications for the camera have been given. Canon may also show a prototype that would come above the C500, but apparently that has yet to be decided internally."   http://www.canonrumors.com/2013/02/new-cinema-camera-lenses-for-nab-2013   I don't think it is possible to fit something in-between the C100 and C300 since they are already so close, so for me the C50 rumour is more plausible.

The Cinema EOS range for pros seems to be a blazing success. It isn't that the C300 has the best image or the best technology, it is one of those products where the yin and yang is so perfect it 'just works'. How can Canon bring the same magic to the prosumer market?

Indeed, this is why the GH2 is underrated in low light. I'd rather have a lot of fine grain / noise at ISO 1600 than a lot of blocky noise reduction and less detail at ISO 3200!

It isn't moire. I'd invest in a good vari-ND filter and put the shutter speed to a more optimal 1/50 or 1/100.

  We only really tested the dynamic range from the middle down into the blacks. We didn't do a latitude test or overexpose the scene. Since we only had 2-3 hours for this test, that was an oversight. I'd really prefer next time to do a real world test and a comparison with the Alexa, since that takes the issue of 4K, 5K out of the already complex task of comparing the cameras.

  A real world test is definitely an aim. Just need to find the time.

That's a good question Rungunshoot.   I will probably add that comparison to the Nikon D5200 review.   So far it is really nice in low light. It will be cleaner (no moire) and more detailed. At ISO 3200 with Speed Booster the NEX 5N might get you more in the shadows though.

    Above: the Epic with anamorphic lens In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.

What makes you think the markup isn't that much Paul? I found the 128GB version of that Toshiba SSD with matching model number on amazon for $79.   http://www.amazon.com/Style-Original-Toshiba-Micro-Thnsnc128gmmj/dp/B009TF135S   The Red Mag version is $1250   http://www.red.com/store/products/redmag-ssd/750-0026   I'm a little baffled as to what it is about the Red version that is supposably giving it such a high rate of reliability under constant use over the standard drive.

2000 lines of resolution you mean. 4K is a measure horizontally.   It's 4096 x 2160.   Saw my first 4K TV in a high street store yesterday.... 19,000 euros. Anyone want one!?

Neither does the Nikon unless you invest in Nikon glass!

  Click the image to view at 100%   Now considering the GH2 is almost as sharp as a Canon C300 in 1080p with the hack (EOSHD Unified 99 applied for this test), the Nikon is pushing to within 98% of the resolution on the GH2 shot.   However it has the advantage of a more gradual fall off in tone, a smoother looking image, less noise at high ISOs and a larger sensor.   This was shot at ISO 800, F2.8, 1/30.   Lens on the GH2 - Samyang 35mm F1.4. Lens on the Nikon - E Series 50mm F1.8 (pancake)   On APS-C, 50mm gives the same field of view of 35mm on Micro Four Thirds.   The rolling shutter seems similar to other DSLRs on the D5200. For some reason the Nikon seems to have worse rolling shutter on the live view display than on the actual recording.   As you can see from the codec info about the GH2 is pushing upwards of 90Mbit and the Nikon is at 22Mbit (seems a constant bitrate codec).

Locking post as I feel the topic is not constructive.   Certainly interested to hear more from Sean though.