Cfreak

I agree. You got to the heart of it there.
And on top of that mindset he displays absolutely no learning, no knowledge, no talent for photography or film.
A consumerist twerp in a baseball cap.
The primitive dumb humour really is on his audience's level
True!
He does seem to be a genuine, authentic weirdo.
What I have come to like about it is he does actually get it right.
The actual camera musings are really solid. I even learn something from it.
I have not learnt a single bit of knowledge from Kai.
And Chris / Jordan just state the obvious... what could be written down in one paragraph stretches to over 10 minutes.
It comes down in the end to why people watch YouTube
Is it to learn about cameras and be entertained.
Or is it to just be entertained only and indulge in some warm, fuzzy, consumerism? The way most people treat YouTube is same way as going shopping with friends for a new pair of Nike.
Kai treats people with distain speaking from personal experience.
At the last Photokina he was shooting with Blackmagic P4K.
So I DM'ed Kai to see if he'd be up for a shoot.
I always try to meet in person if I want to figure out what somebody is like.
He said a vague yeah, totally uncommitted... really disrespectful.
A day passes, nothing. He then actually started teasing me with photos of his BM P4K, while dodging the meet-up for a coffee.
WTF?
Then I pushed again to meet up and he ghosted me till the end of the show.
He was literally in same show hall as me.
And this is a guy who has not once reached out to EOSHD or used the forum, or referenced me in his work over 10 YEARS of being in same camera community!!
So he can fuck off as far as I'm concerned and take his shitty videos with him.
 

Z-cam definitely needs a FAQ or knowledge base on its website, because the Facebook group can be very overwhelming. 

Panasonic GH1 Released Mid June 2009 in Japan http://news.panasonic.com/press/news/official.data/data.dir/jn090518-1/jn090518-1.html 
Panasonic GH2 Released End of October 2010 http://news.panasonic.com/press/news/official.data/data.dir/jn100921-1/jn100921-1.html 
Panasonic GH3 Released End of December 2012 http://news.panasonic.com/press/news/official.data/data.dir/2012/10/jn121025-3/jn121025-3.html 
Panasonic GH4 Released End of April 2014 http://news.panasonic.com/press/news/official.data/data.dir/2014/03/jn140325-3/jn140325-3.html 
Releasing V-Log in October could only mean that we will not see an upgrade of the GH Series before 2016 and releasing V-Log around this this period is another way to artificially extend the life of the camera and stay relevant. Personally I will most probably have moved to the 7R II or a 7S II (if they ever make one). I really doubt the a GH5 will come with a better Low Light support (A la Sony) that have plagued the GH series since the GH1. (Note that I loved the GH1 and GH4, but better low light support would be terrific) 

1) GH3 and 12-35 work with la7200
2) GH2 and 12-35 from 13 with la7200

Interesting list!
 
Curious why the Nikon 7100 was left out?
 
Thanks.

Missed the FS700 with the 4k raw external recorder. Certainly would be in group 1, above RED MX maybe?

How about Nikon D800 with ext. recorder (Ninja or HyperDeck) ?

I've shot virtually all of your Level cameras except the F5 and C500. I still think Epic color science was much to be desired. Range is great but skin tones are not there. If it was pure IQ/grade ability I'd put the F65 on top. 16 bit color / 8 k down sample is hard to beat. Just rarely used it because it's ergonomics stink and initially its work flow was cumbersome. I also think the F55 deserves a higher slot. If you shoot in 4k raw it delivers an incredibly gradeable image with global shutter and 16 bit color. 16 bit epecially with 4k cameras is a big deal as Epic tends to spread its butter thin so speak. The time I've wasted trying to get skin to look just right.
 
I had a GH3 and ditched it for a 5d3 because I found its DR too limited as well as its noise threshold. Sure it's sharper but the image, fleshtones, general color are no match for 5d3 IMO.
 
Eitherway, it's a cool list and definitely puts things in perspective when you see DSLR's knocking at the door of Level 1.

Great article Andrew and great news for us.
 
Is that a Leica R lens you adapted to Nikon mount (not M or LTM mount), correct?
 
Metabones is taking advantage the added space in the BM cameras since they don't have mechanical shutters, like the GH2 and GH3 do, correct?
 
I skimmed through the Metabones documents and despite seeing warning as: BMCC version can only be used on the BMCC is there and reason this version couldn't be used on the BMPCC? Did Metabones indicate there would be physical interference or vignetting with this version on a a GH2 or GH3?
 
I do see the BMPCC version has the deepest protruding rear element and is specifically made for the smaller S16 sensor, so it's obvious to me there that version won't work on anything but a BMPCC.
 
Thanks for your replies and all your good work!

Sounds like it was screened from the Blu-Ray at your cinema. Depending on the quality of the projector used, that could account for the softness of the image. I worked in a cinema where the Blu-Ray screenings were done with a lower quality projector, and I could always tell.

Andrew. You are taking a different approach and I hope a better one. Your reporting of the 5D hack and how to implement it has been brilliant.

This is the main issue I have as well, I find to be told that story and content are important is downright patronising. To be constantly reminded of the obvious, and that raw files are larger than compressed files is no help to me at all. I love the challenge of gearing up for the future and learning raw is a big part of that. It's why I built a Hackintosh and it's working beautifully. So much fun. So much gain in image quality.
 
Am I in competition with Philip's blog? If I am then I think there's room for more than two websites in the world. Have you seen how many there are out there?!
 
Philip's blog is separate to me as Philip the person. If I don't find his advice or blog useful any more then it shouldn't reflect badly on him, I just think we're taking different paths with our approach to filmmaking.

Posted this on Bloom's blogpost. Part of me thinks he realised he dropped the ball on this one and wants the whole thing to go away. Like Andrew said with great power comes great responsibility.
 
 
AMROTH 19 HOURS AGO Your comment is awaiting moderation. Totally agree with Sam Tansey here. PB as much as I respect your work and like many of your articles, I think this one comes off as more of a convoluted ramble or rant, with too many obvious things like “focus on story and shooting more†. That’s fine though I know your website isn’t just for helping others but also for ranting too.
 
Your response to Sam was a much nicer balanced view of everything, but your article and initial tweets were clearly negative and skeptical towards the ML hack, no matter how much you elaborate afterwards.
 
I honestly think you responded awkwardly to the ML update because you feel left out. This amazing development is simply not relevant to you anymore. Several years ago you probably would have jumped up and down with joy. My only camera is a Nex-5n and I wouldn’t even consider shelling out my savings for a 5DMiii until I saw the videos of this new hack. In your blog post you talk about how much you love using your 1DC which is a $12k camera. Most of us can’t afford a $12 camera with all the toys around it.
 
I appreciate that you try hard to relate to the newbies and the hobbyists as well as the pros and semi-pros, but maybe you should stop trying. You’re in the working pro league for a while now, with lots of experience and gear under your shoulders (due to hard work of course) and travelling the world giving seminars.
Instead of constantly elaborating and glossing over everything, I think you just should man up and confess that you reacted to the ML raw hack that way because the whole DLSR community were crazy overjoyed and you simply didn’t feel like part of the party anymore.
 
Not trying to provoke you with this post, just my honest opinion.
 
Amro
 

On the technical side, yes if you work with 4K and/or raw then your macbook pro simply won't cut it anymore. I have an Alienware M17x which is a gaming laptop, with a powerful i7 CPU and soon to be 680m nvidia graphics card. It's great with Adobe Premiere because of the CUDA support.
 
Soon enough people will start realising that if you want to efficiently edit this stuff you need either a PC desktop, hackintosh (like Andrew discussed before), or gaming/ workstation notebook running premiere or whatever program can utilise CUDA. Clevo/ Sager laptops are particularly nice if you want a professional looking and well-built laptop with beastly power. 
 
If you absolutely can't go PC and don't want to set up a hackintosh, then the best option would be the new iMac with specifically the 680MX graphics card option. That's a good card and will have enough CUDA cores to handle the big files. And soon we will have the new generation of graphics cards from both Nvidia and ATI.
 
The biggest mistake you could ever make is wasting money on a Mac Pro. Hugely overpriced and very dated now. There are much better 3rd party graphics options for the Mac Pro now... but if you go with the stock spec you will get an old piece of shit that is much weaker than the current iMac offerings.

I'll agree totally, the original EF BMCC is here and gone. That's exactly what I mean by turmoil. All of this is changing so fast, and yes that is a good thing in many ways . . . but a tricky thing to navigate as someone hoping to upgrade. I haven't bought any Blackmagic products yet, and I very well may not. But I maintain that sensor size IS an important factor, and furthermore that fullframe is not always the best option (of course, a fullframe sensor with various crop modes like the ML5DIII essentially covers all bases). I'm still hoping (probably in vain) for something with better controls than both the Blackmagic and the DSLR cameras, but that's just me. After having gone mirrorless mount, I'd rather not give that up. The adaptability is incredibly useful. 
 
For those with Canon cameras, this is an incredibly good thing as they can start shooting some really nice RAW footage if they want. But for someone with zero Canon gear wanting to get into RAW video? I guess I don't think I'd advise them to go out and get a MKIII for that. I know that there will "always be a better cam tomorrow", but in this case especially, I don't think we'll have to wait long. Blackmagic cracked the door, ML just opened up the floodgates. Any new cameras henceforth will have to seriously consider including RAW as an option. Otherwise, why would anyone upgrade to . . . say . . . a 7DII/5D4/whatever? They already kill in stills mode. All of this is good, but I'm going to wait until there are a few more out of box RAW-capable cameras out there before I pick my poison (so to speak), because once I get one, I'm going to be using it for a long time. I can't afford to switch bodies on a whim every time something new hits the fan.

Nice post Caleb,
 
I think its been really really hard to justify upgrading because of manufacturers playing customers for fools. My last proper camera was an EX1 and now just use a GH2 and wait until manufacturers treat customers properly or BMC gets theirs in the shops.

That's the thing, though... it's NOT free. Not everyone owns the 5D. Most I would say actually don't. And if it's a choice between buying a $3,000 camera that shoots a few seconds of unstable raw and buying a $2,995 or $3,995 camera that shoots stable raw at a higher resolution, I'd say that Blackmagic still wins when presented to undecided customers.
 
If anything, I'm still tempted to buy the Blackmagic Pocket over this. 1080p raw for $999. Take the two grand you've saved over the 5D and go out and buy some nice m43 glass to go with it.
 
I agree this is a nice treat for folks who already have a 5D, but I still don't believe the raw abilities of this camera as it currently stands warrants a $3,000 purchase.
 
But again, if Magic Lantern can actually make this stable and eliminate those image-tearing motion and vertical line issues (that I notice Andrew keeps conveniently ignoring) AND gives us TRUE continuous recording that last for several minutes before dropping frames (which by the way should absolutely make it a total dealbreaker) then I'd be happy to drop the money and buy it.   
 
It's getting there, but it's not quite revolutionary yet. 

Somebody at Voigtlander shoud start to cinevise their glass.

What it means is the death of sacrificing video performance just to get the look of full frame.  None of the full frame options currently available, or announced, offer anywhere near the best motion picture performance.  
 
$1000 USD camera (why, when you could buy a GH2, but whatever) + $700 adapter cost = video performance that totally curb-stomps a $1700 full frame camera, or a $2975 full frame camera, or a $6728.99 full frame camera, or a $12,728.99 full frame camera.
 
That's what this means.

Speed Booster at 35mm F1.0 on the Sony NEX 7

With the Metabones Speed Booster APS-C and Super 35mm sized sensors have taken a barrelling charge up to the door of full frame.

Does it blow the doors off?

Very exciting, I applaud Metabone for releasing such a great adapter. Now Full Frame wont be a big issue for people who don't like crop factors, its a win win. Thats not saying people wont find something else to complain about though.