Andrew Reid

Here is Frank's graded version - http://frankglencairn.files.wordpress.com/2012/08/frame000060.jpg Yes if you push this shot you are going to see a LOT of noise. But with F4 in the dark, it is hardly surprising. This is the exposure we're really trying to rescue here: [img]http://www.eoshd.com/comments/uploads/inline/1/503a9e3075667_Frame000060actualexposure.jpg[/img] You'd need to boost the curves to the equivilent of something like ISO 6400 or even 12,800 to compensate for the under exposure. So when you see noise, you are really seeing what ISO 6400 looks like on the Blackmagic camera! And on a DSLR you would not be able to pull that up. You need faster glass.

Who is this guy, got a link?

Check out another raw DNG sample from Seb https://www.facebook.com/wiegaertnerfilms/posts/455784874461739 I'd have under exposed this a little but it is good like this since it is nice to see how much of the highlights in the grass can be recovered. Great shot too.

Here's a raw DNG shot in very low light from Frank, to try grading. [url="http://www.eoshd.com/uploads/Frame000060.dng.zip"]http://www.eoshd.com/uploads/Frame000060.dng.zip[/url] Check out the [url="http://frankglencairn.wordpress.com/2012/08/24/first-hands-on-the-blackmagic-cinema-camera-test-diary/"]test diary[/url] with more info!

Please can you explain the issue in writing? 5DtoRGB avoids the gamma issue so you have a valid reason for using it but it is better you explain more fully.

I disagree. Surprise. Look at the day rate of a Red shooter, raw moves you the ladder in the eyes of a client. I know a lot of clients who are keen to avoid the DSLR kid look now having been stung before by a cack handed shooter clutching a Canon 7D. Making cash as a photographer is a completely separate issue to making a living as a videographer. If you cock up a shot with the 5D Mark III on a job you can't save it later. What if your white balance is off, or your exposure, or one shot doesn't match the other when you cut them together? Maybe you come back to do a re-shoot the next day and your exposure is different, then it doesn't match on the timeline - with a raw codec that isn't an issue. Far more safe. Then there's the focus issues you get with a large sensor and clients really are getting tired of having their subject coming in and out of focus. On a smaller sensor again you have that extra safe margin. The Sony full frame E-mount camcorder will be the final nail in the coffin for the 5D line in pro video world. There are numerous reasons why, but we'll have to wait till September to find out if it has any major drawbacks that could stifle its potential.

It isn't out of my price range, I have one sitting on my desk.

It depends what you are used to shooting with. All the DSLRs are predictable once you learn to predict the outcome. You sure will if you want to keep old projects in raw format, archived away for years to come. I've looked at drive space and you can get a 6TB (6000GB) block for around £350. 30 minutes of raw footage takes up around 250GB. You can convert it to high bitrate H.264 once basic grading is done, and make more minor changes to the archived project / re-edit the timeline, just as you would with AVCHD. I won't be storing all my projects in raw, only the most important or stuff with a lot of artistic merit You don't have to edit the raw files directly. You can do it by proxy. Or simply transcode, or use the ProRes workflow for a faster turn-around for a corporate video and 1080p delivery. On personal projects I'll be using raw. When I just want to slam an image out there I'll be using ProRes. You have the choice. Likely far better. I haven't seen this from the camera yet though apart from via Vimeo from John. Ditto on the audio, unlikely to be a problem but cannot say for sure yet.

It is as simple as you want it to be. Flick the ProRes switch in-camera for a fast turn around.

I am in their marketing team now? I don't promote, I write about what I use as a filmmaker. When Canon do something good, I will be singing their praises until the cows come home.

Yes the Blackmagic has a significant resolution advantage over the FS700 just make sure your production hardware and storage can handle a raw workflow.

No shit sherlock! But I'm EOS *HD* in case you haven't noticed that yet in all your negative commenting.

Corrected article on the audio jacks, thanks. I really need to get my head around those 1/4 jacks, so rare to see them on a video camera. 5D3 doesn't have peaking as Magic Lantern isn't yet available for it.

With both cameras around the $3000 with a Canon lens mount, and the DSLR being such a popular choice for video, I thought I'd examine the reasons for buying one or the other. Which should you choose? http://www.eoshd.com/content/8841/5d-mark-iii-or-blackmagic-cinema-camera

[quote name='jonjak2' timestamp='1345999712' post='16510']The MKII, as Gale Tattersall (House DoP) pronounced, is capable of cinema quality images, so why not get to the point where you can make it look as good as he did, before criticising its failings. So many people trash cameras like the 5D MKII/III, but they can't even make it look as good as it's capable of. These days, cameras are way ahead of us and we need to catch up. [/quote] Undeniably Gale did a great job on House. There are also some very nice cut aways in modern blockbusters to 5D footage, usually as a crash cam. However why cripple yourself now better cameras are out for the same money? Look at what you gain vs what you lose, if you went for the 5D Mark III over the BMC. You'd gain: Wide angle faster than F2.8 Stills Usable ISO above 3200 You'd lose: 12 bit colour 4-2-2 sampling Nearly half your resolution (600 lines vs nearly 1000+) Raw codec Larger built in screen HD-SDI XLR Da Vinci Resolve (it comes in the box) $500 cheaper I believe the BMC is by far the better deal. We don't need to catch up to Canon, we need to catch up to Blackmagic and so do they. What people don't realise very often about the large sensor in the 5D Mark III is that it only has ONE advantage - the way it renders a lens. Shallower DOF all else equal (which is not actually what you always want on every shoot, every scene, every shot) and more choice of lenses at wide angle. It doesn't give any of the dynamic range, resolution or low light advantage in video mode that the sensor is capable of in stills mode. The Blackmagic's image shits all over the 5D Mark III. The only thing it can't do by comparison is 24mm F1.4 and ISO above 3200. 13 stops of dynamic range for $3000 is a much bigger deal than a full frame sensor which is crippled by a dreadful image processor and dated codec.

I still can't download them. Their server is terrible.

Spoilt for choice!

[img]http://www.eoshd.com/wp-content/uploads/2012/08/Rewo-gh2-cage-on-set.jpg[/img] Photokina is less than a month away now and it is going to be a busy time. I will be there to get my hands on the new cameras, and I don't think I can remember a month like this with such exciting products being released. Sony's full frame camcorder the VG-900 will have a mirrorless mount, all in a video camera form factor for £2.5k and now we have a Blackmagic Cinema Camera that shoots amazing 12bit raw for the same price. These were mythical cameras only 6 months ago. Raw video for $3000? Full frame video camera with E-mount? Then we come to the GH3.

He has a pre-production demo as have Frank Glencairn and Seb Wiegaertner. The problem is he's not allowed to do a full review of the pre-production unit, so he like everyone else will have to wait for the retail units to ship. I am number 7 in the queue at CVP for the retail unit. The reason I don't have a demo unit is because I didn't push hard enough for one. I am more interested in reviewing the finished retail unit and paying for it myself as a keeper.

Talk about what you like, as long as it isn't bullshit I don't mind :)

[quote name='HurtinMinorKey' timestamp='1345857689' post='16447'] What are the chances Canon puts out a 5D-C (@ $4000) with 1080 raw? [/quote] Well considering the $15,000 1D C doesn't have raw, zero %. It is 8bit MJPEG!

I'm talking in the broad sense and you are talking in the very narrow sense (i.e. Hollywood). I'm tired of the back and forth, please get back on topic. A guy walked into my local camera shop in Manchester once and bought a DSLR for his small production company, is he not part of the filmmaking industry as well?

No laptop on earth will edit the raw DNG footage directly. You need to edit by proxy, i.e. transcode to a lossless format for playback and editing.

[quote name='Bruno' timestamp='1345841366' post='16437']Try to find out how many 7D/5D cameras alone Canon has sold so far... if BMD manages to sell even 10% of that it will mean it's a huge success, far beyond their own expectations.[/quote] Ask yourselves how many new product lines Canon have felt the need to start from scratch. SLRs, office machines, consumer inkjets, compacts, DSLRs.... and Cinema EOS. Hardly a niche. The broadcast and filmmaking industry is huge. I can rent a C300 down the street. Not to mention that there is more margin in the high end stuff. The DSLRs will continue to sell well as stills cameras. Their video appeal is now dead. The video appeal gave Canon that sixth business division. Well done Canon. Anyway, you are dragging this a bit off topic now.

We are not a minority!