Andrew Reid

I heard about S-Log becoming a free update, not sure if that is for all territories though. Still for sale on CVP here http://www.creativevideo.co.uk/index.php?t=product/sony_cbk-rgb01 Anything below $1000 is [i]very[/i] good for a 4K firmware update.

[img]http://www.eoshd.com/wp-content/uploads/2012/09/DSC03036-660x439.jpg[/img] Today I was at the IFA consumer electronics show in Berlin. Sony had the FS700 to play with. Asking about the 4K update - I was told that by Sony insider (not a sales rep) there are two external recorders already on the market that will work with the camera in 4K mode by Aja and Sony. Sony have no plans to restrict 4K output to their own external recorder(s), and that is the first bit of good news...

[img]http://www.eoshd.com/wp-content/uploads/2012/06/gh2-in-a-heli-rig.jpg[/img] There's a lot to chew over in the latest GH3 specs. EOSHD takes a look point by point...

Here it is guys. First little patch is to change the Japanese menus to English. http://www.nex-hack.com/topic/1114-language-modification-firmware/ The patcher tools for the NEX 3, C3, 5 and Alpha A55 can be downloaded from that page. Good to see he is progressing well even though it is VERY early days in the project yet. Remember how long it took the GH1 hack to mature, and be patient!

[quote name='avrofilmvideo' timestamp='1346709723' post='17255'] That's right..youngsters Off to School.. TADA have to go now-time to make some $$ [/quote] What you will never hear [url="http://en.wikipedia.org/wiki/Banksy"]Banksy[/url] say :) And yet he's one of the most respected artists in the world today. Maybe all these money obsessed filmmakers need to go to school as well. Or at least art class.

Yes daddy camera man. We shall toddle off to school now. To learn about our crushed blacks on a 12bit raw camera and highlight clipping on 13 stop dynamic range. I think you've been watching too much of John's footage streaming at 7Mbit over Vimeo and not enough of the CinemaDNG raws in DaVinci.

It began shipping August 30th Jeff. Enjoy your breakfast tomorrow of the letters S, T, U, F, F, and U, brought to you by sesame street and the rubber ducky

You are right some lenses won't suit this camera at the wide end, as I said before my GH2 loves a fast 12mm but kills the raison d'etre of a fast 18mm designed for Super 35mm and I don't just say raison d'etre to look clever by using a bit of French. It really does. But you my friend - ahh - spent $60,000 on a single camera - and god knows how much on L glass, and you are not willing to fix this problem with $500 on a Sigma 8-16mm. Or a full frame B-camera for more extreme wide angles than 25mm equivalent. Or an anamorphic. No one camera will ever be good at everything. For example if you go full frame your telephoto end is a pain (expensive and heavy). Also the Alexa makes a crap helmet cam! I don't think the cinema converted (or standard Tokina) 11-16 is in any way 'destroyed' by the Blackmagic, they are a good match. 11 is nice and wide on it. Not ultra wide angle (I find that look something of a gimmick and special usage any way), but a nice 25mm equivalent on full frame. Wider than the standard 28mm. It is FINE.

Don't be too harsh on him, he's not to know. The blacks look crushed on my footage as well when I wear my sun glasses indoors at the desk.

Because 1080p doesn't upscale to nearly 4K anamorphic as well as 2.5K does, that's why! You could do that but why bother? 1920x720 shows what most people who will shoot ProRes will do - a crop for a wider aspect ratio on Vimeo, and no anamorphic lens.

[img]http://www.eoshd.com/wp-content/uploads/2012/09/bmcc-raw-design.jpg[/img] Why is the [url="http://http://www.eoshd.com/content/tag/blackmagichttp://www.eoshd.com/content/tag/blackmagic"]Blackmagic Cinema Camera[/url] the way it is? It's a long time since we saw such a creative camera with this much creative depth, rather than an another run of the mill industry tool that merely does a job. Grant Petty, CEO at Blackmagic Design explains...

No LOMO + BMC unfortunately. They don't mount on Canon EF. Iscorama, LA7200 and Kowa a better solution for the Blackmagic. I can't wait. ProRes can eat my shorts.

Seems the problem swapped to VLC and QT was fine, this after using my laptop display and then reconnecting the monitor. Seems like a colour management / display profile bug in OSX?

It is early days yet people.

Hmm run & gun is not the BMCC's forte. I'd chose the FS700 for that. It is more flexible, more versatile, does more things, adapts to more lenses, even has AF for run & gun if you need it. Now my advise to narrative filmmakers / music video producers / and many others is different, and it comes down mostly to the image and price as there are quite large differences between the two in those regards. The main issue about the FS100 and FS700 is their highlights, quite digital looking and I think the BMCC has a better image in day light, more cinematic, finer noise grain. But the FS100 (and I love mine) has great low light, so does the FS700 to a slightly lesser extent. Good dynamic range, but 8bit colour and AVCHD. 240fps is beautiful, I like it for slow-mo. They compliment each other, if you can afford the expensive gear - $8000 for an FS700 it isn't too much to stretch to another $3000 for the BMCC. If you can only get one, get the BMCC and spend the remaining money you were going to spend on the FS700 on lenses. Lenses are important.

A £300 NVidia CUDA card like the GTX 670 [url="http://www.ebuyer.com/367979-palit-geforce-gtx-670-2gb-gddr5-displayport-hdmi-dual-dvi-pci-e-graphics-ne5x67001042-1042f"]http://www.ebuyer.co...x67001042-1042f[/url] And DaVinci Resolve, which comes with the camera. 8GB RAM minimum, i5 or i7 CPU eSATA / USB 3 for external drive storage At least 3GB RAID internally External 6GB to start with either in multiple USB drives or a NAS.

[img]http://www.eoshd.com/images/anamorphic-prores-vs-raw.jpg[/img] The end :D

You can transcode from Raw to 2.5K ProRes 444, saving half the space. But you will need some sort of USB 3.0 / eSata or Firewire 800 SSD reader. You can't transcode the ProRes on the same SSD as the raw, you won't fit it all under 480GB. Buy a 3GB internal HDD and an eSata 3.5" HDD / 2.5" SDD IcyBox reader / dock with two slots, Firewire connectivity on the back for your Mac. Don't use USB 2.0.

They put sake in the Panasonic team's Kirin!! GH3 is going to be amazing.

Have you tried grading CineForm yet JG? Doing some research into that compressed raw codec.

I'll see if I can fix it in AE. But odd that GH2 H.264 straight off the card looks different in Quicktime compared to Premiere & VLC Player. What is going on there? Seems like more of a OSX issue than AE to me. Windows box may not have same issue as I am seeing.

Now ProRes 444 will always have the edge on 8bit H.264 but something is not right with Quicktime. At the point of transcoding the Blackmagic Cinema Camera raw (Cinema DNG) in AE CS5.5 to H.264 and importing that file to Premiere CS5.5, H.264 looks superb. Grab that same file and play it in VLC - looks as good. Play it in Quicktime and it turns a pale yellow, and the reds de-saturate. Also notice her sparkly green/blue eyes in the ProRes version - but really washed out on the QT H.264 screen grab. Again, VLC Player doesn't have same issue with H.264 nor does Premiere. Now Mountain Lion can finally play AVCHD I also notice this with my GH2 H.264 based AVCHD as well. Quicktime lifts the blacks and washes out the colour. So Apple... Questions to answer I think. This is major problem because H.264 is the most common codec in the world for us filmmakers to deliver material to the viewer. Click to enlarge - [img]http://www.eoshd.com/uploads/prores-h264-red.jpg[/img]

It is early days yet. People are still working it out for themselves and thinking out loud. If you have seen my twitter feed you will realise Bloom is not alone in that.

There are certain lenses that look better on S35 and some that look better on a 2x crop sensor. Nice to have a choice, I'd certainly prefer to use a 18mm T1.6 on S35 rather than Blackmagic. But then I'd rather use an 85mm F1.4 on the Blackmagic or GH2 as a super fast telephoto than on full frame where it is a standard boring portrait lens with uncontrollable DOF :) All the comparisons to full frame and claims of 'small chip' are bunk. S35 is large, Blackmagic is medium, consumer camcorder is small.

[quote name='pietz' timestamp='1346517519' post='17102']thinking that a couple of guys with new ideas would make it better than professionals, without actually knowing how and why they do it that way, makes you ignorant. [/quote] I'm entitled to think that. There's always good ideas around, both inside the industry and outside. I'm not ignorant of the smoother, faster, convenient workflow of ProRes, it is great to have. But personally I will not be chopping 20% of my resolution down for the sake of avoiding a bit of transcoding. I'd rather transcode from raw to ProRes and delete the raw files than record directly to ProRes, boxing myself into that decision and unable to reverse it later for even a single shot.