Andrew Reid

[quote name='kitchentable' timestamp='1343848336' post='14795'] Got the same email from CVP and I'm comfortable with the delay. Well, I say delay but as a long time Red owner this doesn't really count as a delay. I've know Red's announcements about the latest delay update being delayed longer than this. [/quote] ... And all the laughable comments on RedUser about how the delay is the best news since the dawn of film?

Jeff, do feel free to come back in a few weeks and eat your words.

[quote name='jeffdeponte' timestamp='1343768767' post='14761'] Beware the Vaporware! [/quote] It isn't vaporising, the camera is even rolling off the production line as you type! Hardly vaporware.

[url="http://www.eoshd.com/wp-content/uploads/2012/07/blackmagiccinemacamera.jpg"][img]http://www.eoshd.com/wp-content/uploads/2012/07/blackmagiccinemacamera.jpg[/img][/url] Today I have an update from CVP in the UK regarding the Blackmagic Cinema Camera. The initial shipment is delayed 2 weeks and Blackmagic expect to deliver this to CVP in the 2nd week of August. The good news is that the camera firmware has gone gold and units are under production at the factory as of now.

[media]http://vimeo.com/46540179[/media] Above: [url="https://vimeo.com/46540179"]Säure trailer on Vimeo by Andrew Reid[/url] [url="http://www.theater-im-kino.de/TIK-Theater%20im%20Kino-Berlin/Programm/Theaterstuecke/Saeure.htm"]Book tickets to see Säure here[/url] I was cinematographer recently on a trailer for Berlin theatre production Säure (which translates as 'Acid').

Not the individual MTS, you have to have the whole folder structure intact and open that in Quicktime with a double click.

The Thamber and foggy Leica are actually quite interesting. What is the spot filter?

Some of my favourite shots I have shot at F5.6 on an anamorphic. Knocking back a distracting background is important, but it doesn't need to be creamed out entirely, that is just boring. In my opinion a backdrop should be like a painting, where you can see the brush strokes and texture but it doesn't distract from the main subject. Excessive shallow DOF has been used and abused too often for my liking!

I do recognise that chair moire to human vision issue, seen it many times with my own eyes. I think the furniture needed moving around before he shot it :) Natural moire or camera moire? I suspect natural as there are a lot of other fine details, fabric, hair, pool cloth for example and zero moire or false detail there. The footage - when I play in Chrome to get around a strange compression issue with Vimeo - looks absolutely fantastic on my Epson theatre projector and Dell U2711 2.5K screen. And it isn't even the full 2.5K raw but ProRes. Camera is shaping up great. In my opinion - the REAL advantage of a full frame sensor = more dynamic range. Not unmanageable shallow focus. This thing has heaps of dynamic range so the sensor size doesn't concern me in the least.

Alexander is correct.

The Vimeo compression on this video was worse than normal, it is maybe an issue in the new Safari in Mountain Lion. Vimeo could possibly be giving me iPhone browser bitrates by accident on my desktop.

Have you two even read the blog?! :mellow: Under the heading... 'The fix' [color=#333333][font=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif][size=3] (In Premiere Pro) The specific part of the Fast Color Corrector you need to apply the fix with is the Output Levels.[/size][/font][/color][color=#333333][font=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif][size=3] Keep the Input Levels at 0-255 but change the [b]Output Levels to 15-235[/b].[/size][/font][/color]

[url="http://vimeopro.com/johnbrawleytests/blackmagic-cinema-camera/video/46460980"][img]http://www.eoshd.com/wp-content/uploads/2012/07/bmd-pool2-660x371.jpg[/img][/url] [url="http://vimeopro.com/johnbrawleytests/blackmagic-cinema-camera/video/46460980"]Watch it here[/url] Please note the compression and noise is from Vimeo not the camera [url="http://johnbrawley.wordpress.com/2012/07/27/pool-shark"]John Brawley[/url] has some new Blackmagic footage for us. Unfortunately Vimeo streams 1080p at something like 7Mbit and John has no download option on this clip, so watching Blackmagic footage when it is so heavily compressed rather defeats the object of such a lovely 12bit raw camera. Nevertheless dynamic range and resolution are looking pretty good.

[quote name='gene_can_sing' timestamp='1343349741' post='14573'] Hey Andrew, Does this fix make the AVC clip identical to what you would get out of 5DtoRGB in terms of how it displays on screen as well as dynamic range? Thanks for the tip. [/quote] [img]http://www.eoshd.com/comments/uploads/inline/1/5011e83e72db7_premiere.jpg[/img] 5DToRGB ProRes on the left, native (fixed) AVCHD on the right. There is a very slight difference in saturation, nothing else.

[quote name='TC' timestamp='1343350121' post='14574'] That looks like a Leica 50mm f0.95 attached to your FS100. Are you made of money? [/quote] It isn't a Leica. It is an SLR Magic!

Discussion continues here... http://www.eoshd.com/comments/topic/1002-mac-avchd-gamma-issues-the-fix/

[img]http://www.eoshd.com/wp-content/uploads/2012/07/fs100-slrmagic-hyperprime.jpg[/img] As I recently discovered Macs really seem to hurt your AVCHD footage from the FS100, GH2 and NEX cameras. Especially the Sony FS100. It is no wonder these cameras often get a bad reputation for limited dynamic range, crushed shadows and blown highlights - when you are only seeing the middle part of the full 8bit range of luma. This Rec.709 portion of a 601 space (16-235 instead of the full 0-255 the FS100 shoots in) is incorrectly remapped to 0-255 by Quicktime. Therefore apps that use Quicktime at their core like Premiere, trip up. This makes a huge difference to the image. When fixed, you recover over 10% of your dynamic range, highlight and shadow detail, along with a much smoother roll off to whites and blacks.

Alexander is right. Although I'd still term it 'clipping'. I'd love to know more on this topic. Why does Premiere cut the last 16 levels off? In the luma channel or RGB? And why does bringing the white levels down fix it? Is it a bug or just misinterpreting the footage? And why hasn't Sony issued an explanation for it? And why does it happen on both Windows and a Mac? So many questions :) Remember his isn't just in Premiere, it is in Quicktime and VLC too.

[quote name='bwhitz' timestamp='1343331469' post='14549'] +1 Even if film is soft in certain scenarios... it's always very [i]detailed[/i]. The 5D's have no detail whatsoever... they're just mushy and muddy. There just isn't any detail in there. The GH2 in 720p with a variable ND filter and a 30mm 1.4 lense wide open in the day time is a pretty "soft" image. Yet there is still a TON more detail than my 5D or 7D. And noticeably less artifacting as well. I used to be a BIG canon DSLR fan myself, but after working with hacked GH2, Red, and a bit of Alexa footage... you'll start to see the big difference between "soft and detailed" and "muddy and sharp". You can make almost anything "sharp" in post... but you can't fake detail. [/quote] Well put, agree soft and organic but detailed is cinematic. The beauty of the GH2 is that although it is sharp out of the box and very HD, it resolves so much detail that even if you are using a soft lens to make it less clinical, you still end up with enough fine texture and an image that still pops off the screen. Sure you can soften the 7D but it makes the muddiness worse. Sure you can sharpen the 5D but it makes the aliasing worse. Sure you can sharpen any camera digitally but you risk halos and a very electronic looking image with a high contrast look. With the GH2 you just need to soften it or use a lens with character like an anamorphic or Nokton F0.95. That is far easier and more enjoyable than trying to reconstruct detail that isn't even resolved in the first place, or overcome some awful flaw like aliasing.

Nice deal on the Bolex. I am not sure about the prime myself as I've not used that lens yet. You could try it with the c-mount lenses it was designed for, and I'd say the older and more simple the lens with the less multi-coating as possible will work best, forget the modern Canon and Zeiss stuff.

It doesn't fix the gamma or clipping issue. Neither in QT or Premiere CS5.5 / CS6. However I had a breakthrough with Premiere and the clipping issue which I'll share tomorrow on the blog. I agree, need to avoid 5DToRGB if possible. Cheers Andrew

The 65mm epics weren't screened in 3D 48fps!

Very interesting. When the GH2 came out, a number of people complained about the high level of detail, claiming it was too sharp and less cinematic than the softer GH1. Equally I am sure when people watch The Hobbit for the first time they will be shocked at how un-cinematic it looks and how sharp and smooth and digital the image will be at 4K 48fps. Certainly that soft muddy 5D footage look is not the same as the film emulsion process and organic softness. The GH2 strikes me as a good chance to experiment with softening the image in post. Right now everyone is trying to get the sharpest image possible. It would be great to see some tests with different noise overlays and experimental softening techniques. Just don't try it with the 5D Mark III!!!! :D One of the things I love about anamorphic is that it softens detail, but doesn't decrease it.

[quote name='lafilm' timestamp='1343019784' post='14337'] [color=#0066cc]3rd test: Even more so. 1DX is bext full frame DSLR.[/color] [u][color=#0066cc][media]http://vimeo.com/46186716[/media][/color][/u] [/quote] Lovely shots by James but I really did have to squint to see the difference. Considering the 1D X is nearly double the price of the already rather pricey 5D Mark III, for that 1% difference in video quality you really have to be one of those people to whom $6500 is 'tiny'

Their site as in Sony's? That would be news :) Do you have a link? The last I heard was the rumour was incorrect but I may be wrong. I was told Photokina time for the full frame beast.