Francisco Rios

Sony A6000 with Zeiss 50mm F1.4 on Speed Booster

The Sony A600 is the best Sony consumer camera yet for video. A Nikon D5300 in a mirrorless body, with far more features, the image quality is closer to the FS700 in 1080p than to a NEX 7 or A5000. The pristine sharp EVF, a magnified focus assist which can be activated whilst recording (rare!), peaking, zebra, 16:9 screen and of course the mirrorless form factor. This is arguably the best current 'cheap' camera for video, de-throning the GH2 and GH3. At just $650 it is an absolute bargain.

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I shot on film for 15 years all through the 90s and early 2000s ......16mm and super 35mm Arri and Aaton Cameras so I never used full frame as a referance
we never talked about Full frame so I still dont..... a 24mm lens is a 24mm lens in my head .
 
anyhow the new FD to m4/3 adapter looks great I will be getting one asap
thanks for posting this useful info , they also make a C/Y , M42 and EOS to micro m4/3 adapters too with the same glass
 these are all very cheap and usefull to have

I am trying to avoid noisy shots. If I have one, I load it to FCP 7, where I have a stable Neat.
 
 
When cows fly. Even if FCP X doesn't crash, it gets very slow with just about every plugin you install. I have accepted that. FCP X is a very mighty footage organizer - outsiders just can't fathom how advanced it actually is in that respect. It also is the fastest editing tool - render benchmarks and GPU acceleration set aside, just from the way the edits are organized. It also offers a very intuitive and easy, yet limited, color correction. Everything else, to tell the truth, is in it's infancy. 

Hi forum.
This is my development for BMPCC
 
http://www.youtube.com/watch?v=tr-6hdQPlUk

Here's my video to share.
Had some trouble nailing focus shooting T2.8 on some crap BMPC LCD screen, but here you go!
 

 
EXPERIENCE
I enjoyed using this. This is a final production prototype that I am testing. What makes it great is that the setup was really light, pretty well-built, and the learning curve is pretty easy. It can resolve sharp images, especially with the achromats. On the small LCD of the pocket camera though, getting focus can be a crapshoot. Focus peaking does not always work and I had to guess a lot. I did have to tell Ying to slow down a couple times because there was no way I could pull focus, especially on a fairly fast aperture of T2.8 and pretty much 100mm equivalent lens. Really should have a large monitor. But then it's not really a run and gun lens like I was using here though. I don't feel like anamorphic in general is normally for documentary style work. Neither is the pocket camera. Hope this helps you.
Erik

More 'evidence' to consider. I do not particularly like the motifs of Tom ("ETTR") Majerski from blackmagicdesign.com (my test shots aren't better though), but I came to a similar conclusion:

 
 
As this test with the BMCC (more or less same sensor) implies

 
... raw has a little more DR compared to ProRes, but the result is misleading. This is only valid for extreme ETTR, when the noise floor is avoided. So definitely not in low light, where raw looks very noisy.
 
How about being able to set white balance in post? No issue at all, if you roughly stay in the right ballpark with ProRes. Only with very difficult light conditions such as mixed color temperatures do you gain anything with raw, imho.
 
Then why the heck are there so many ugly, washed-out ProRes-clips on the net?
 
Because people don't know how to grade.

The shots may be somewhat oversaturated, I was searching for an extreme example of exorcising the flat look.
 
And in this example, pre-grading in Resolve makes no sense at all. Keep in mind, the guy had to render everything to get the stuff back to FCP X, he renders twice. FCP X doesn't appear to be exact enough for it's 0-100% levels in CC, but it actually computes in 32-bit floating point accuracy. Also you can't grade in one step, you have to add and stack corrections - like, er, nodes. Experts say, it's unusable, because other than for vignettes, corrections can't be keyframed. You pan from the window into the room, everything changes in one shot, needs to be keyframed. Though I admit, no keyframes for color are a no-go and this definitely should be changed in future updates, I find myself dividing the clip in two with the blade and adjusting the start and end of a cross dissolve instead. Does it take more time? On the contrary. Is it less accurate? Let me think about it. Hmm, why should it?
 
These are just thoughts on postponing the need to spent a fortune for a new machine, not a rant against Resolve or raw.

some optics have soul.
every lens can be decoded and copied today but can you facsimile a mystery an essence of what was?
 
enough of all this stuff about hawks or panavision c series iscorama already.
that is a little silly and also unfair on newbies.
 
lens should be treasure a financial investment for work or play or collections.
can an optic have dna maybe maybe not but some are magic most optics today not.
maybe it was the radiation of old in the glass that made the look so evocative so disconnected,so filmic and unreal without actuality.
 
modern ism is kind of bland and as for an investment give me 2 old mollers over one new shooting kit that is not quite single point focus.
just sayin
but
it's here.
they made the product for you guys in your  image.
it has arrived so stop moaning just finish off the contract.
  now it is time to pay full fill your bargain.
the reckoyning the bill must be paid.
 
and why not, it works some say it's amazing like panavision c.
so it must be so
cos it is written.

Normally I disapprove of using the forum just to flog lenses...but screw it, I'm having a clear out!

Thought it worthy to post, as there are a couple of lenses that I'm selling that I have not seen featured on the forum, and are pretty interesting. They are listed on ebay but would be happy to answer questions here.

For sale:

'Centascope' 1.5x (fixed focus)
Super-80 'Magnum' 1.5x
Iscomorphot 16/2x (non MC) + Redstan Clamp

Sample footage of centascope in low light (super-80 'Magnum' is same optical recipe/same flare but with bigger optics and focusable helicoid):

I shot last month in Brazil... 36 degrees C...no problem...

It depends. Let me share my thoughts in a same dilemma:
 
If you work 90% in ProRes, your iMac should suffice. Bottleneck here could be the disc speed (hence the BlackMagic Disc Speed Test app, you should use it). An SSD, though hypothetically able to run at 500-600 MB/s, is hampered by old SATA-controllers of your motherboard (I don't know about your Mac, check in system report) or by external connections. No USB 2.0. Best are PCIe or Thunderbolt. Raids. Assigning cards for read/write-only, not using the system drive for footage in the first place.
 
For FCP X, disc speeds set aside, more RAM and more graphic power make it faster, but it should run fast enough on your machine.
If you use Resolve (lite), then you best have two Nvidia cards, one 4 GB for computing (I know they say 2GB were enough, but I read otherwise), a slower one for GUI (lite can't use two cards in the way FCP X can, you'd had to upgrade to the full version, refer to the system requirements on the BM site, Resolve is touchy with cards and drivers, openGL does, for example, not include Radeon cards which are supported by Apple). Probably Resolve would be the reason to give up Apple, since the costs for upgrading an old machine (if possible at all) easily exceed those for a state-of-the-art PC. I can't tell if the Photon Envy would work, but 16 GB RAM max? ""Photon Envy" wears an intimidating look. Adorned with Green LED fans and lighting, your friends and foes alike will be certainly green with envy!" - or glare red with schadenfreude. This thing (film quiz) is so ugly, it must be a modern masterpiece.
 
The third option, at the same price point, would be a Hackintosh. The $4000 new MacPro can be assembled for ~ $1500, with even faster (but internal!) connections. That's my favourite plan. 
 
In the meantime, as others, I see raw as of little if any advantage over ProRes for most situations. More moire, more noise (noise can be avoided almost completely by ETTR, which requires enough light, as should be a matter of course for a cinema camera). The noise can be taken care of by Neat inside the NLE (after i.e. developing the raw with cliphouse), by ACR and for Resolve by the full version or by Neat's own OFX-plugin, suitable for Resolve lite (now also supports AMD graphics) - Resolve again meaning a new computer, especially with Neat, which is famous for slowing down performance, and it'd need to be the first node! The moire apparently is invited by utilizing the utmost lens' resolution and can be reduced or avoided by softer lenses or open apertures. You sacrifice sharpness for a moire-free image, old recipe in DSLR videography (you indeed increase resolution then, because the moire decreases it). This brings the sharpness down to the level of ProRes ...
 
Keep in mind, the new Amira in it's basic version ($ 30.000) has only ProRes (not HQ), and only in Video-LOG (rec709). Why make everything in raw? If it's good enough for Arri, it's good enough for me ;-) (of course not, how can one compare a meager broadcast camcorder with a cinema camera!)
 
The first thing I thought after I saw the first clips from my new Pocket was that I'd never do anything else with it but raw. To grade the film-LOG ProRes so that it looks even as good as GH2 or G6 video isn't easy. And the raw clips seemed to be so much better at once (shaky camera and bad focus ignored - the colors, the nuances!). But the more test shots you make and compare and the better you get at extracting all beauty of the flat ProRes, this view changes. There are situations for raw, but they are rare. 
 
You want to make only some beauty shots with raw? You can, you just need to invest some time and round about $50 (for cliphouse), if you have no AAE already (which reportedly has the better debayering method compared to Resolve). 
 
What about grading ProRes with the hobbyist tools inside 'iMovie Pro'? Actually, if you take a more scientific approach than just applying looks (I tested and detest Filmconvert), you can build a similar pipeline as in Color ('rooms') or Resolve ('nodes'). Tracking vignettes? You could add the Mocha tracker within SliceX. Comparing and conforming shots in the timeline? Easiest thing: Connect a still from one typical graded shot, shove it over the other shots and crop it accordingly to make a splitscreen. Imho FCP X can be used better for grading than the NLE Premiere, because color is not an 'effect' that has to be loaded, it's an attribute of every clip that exists in the (if you choose so) ever-open info-window.
 
Seriously, I believe Resolve is the best software for grading, but it also is the most expensive, at least for us. I follow the advice of a friend: Either soldier on with your slow and outmoded system (MacPro 4.1 Quad Nehalem, 16GB RAM, GT 120) for now or buy/build a new one with the best specs affordable. But don't invest in any hardware to make your old system faster! Sounds reasonable.

Show some G6 love Andrew! It's the real successor to the GH2. One of the most underrated camera's of 2013, it should get it's well deserved spot on your site of all places :) Why wait for march to put it in the list?
 
Not sure if it's logical to put the GM1 above the GH3. Maybe the GX7 should be in that place? The GM1 doesn't have 60p for example. No audio in- and outputs.
 
Also I'd say the D5300 / D5200 should be split. D5300 has 60p over the D5200, so I'd rank it higher.
 
Why is the RX10 rated so low? Is the quality worse than the 5D Mark II stock?
 
I think it'd be good to add a little bit of info to the list for each camera.
Like strong points and weak points (moire, resolution, framerates, in/outputs, peaking yes/no, etc).

40 !!  thats insane ......Im gonna start making camera Ice packs (Red users will already have one !!)

I just got back from 10 days shooting in Los Angeles -
all done stealing shots using 2 Panasonic g6s on small custom made shoulder rigs I made up -
and amazingly nobody  said anything to us, we had a crew of 4 and blended in as tourists!!
 
The G6 is small enough not to attact attention at all..... and we had superb weather too 28 degrees C , its bloody freezing back here in the UK now.

I'm currently working on a design in my free time - a small block that fits to the side of the black magic pocket with the following connectors:-
 
2.5mm LANC
 
3.5mm stereo in
 
3.5mm Stereo out
 
full size HDMI connector
 
2.5mm/0.7mm dc power connector
 
 
Just a feeler as to whether to design it with intention of making one for myself, or to design it with intention to make a batch for others.  Also, what sort of price would people deem something like this as being worth.  The Chinese won't ever make something like this due to the demand being quite low.  I think a nice solid full size hdmi would be a welcome addition to the pocket when rigged. - the micro one is worryingly delicate

The Sony PROduction Awards is a short film competition, and a chance to get your work noticed and win some pretty nifty Sony gear. Filmmakers from around the world will be pitted against each other and go up against a judging panel which includes myself, Andrew Reid of EOSHD, Shane Hurlbut ASC, Philip Bloom, BAFTA winning dramatist Tony Marchant and others!

Enter your film now at the PROduction Awards competition website or read on for more details...

Read the full article here

Very underrated lens IMO, super sharp with nice purple/pinky flare. Had pleasure of owning this lens previously (was sorry to have to let it go) -  it's like it just came out of the factory, 'Boxfresh' as the kids used to say. Redstan supplied prototype internal collar (see pictures) - for extra glove-like snug fit with his clamp.
 
Good luck with the sale Francisco!

NEW DEAL:
NOW  THE SET ALSO INCLUDED CANON FD 24mm 2.0
 
 
Optivision 2x with rear(52mm) and front(72mm) redstan. Include caps.
Canon FD 35mm 2.0 
Canon FD 50mm 1.4 
Two FD to m4/3 adapter
0.5+ Tamron

The optivision got a modification to close focus (3 feet) and it's like new. Original box. Same sharpness as Kowa 2x Bell & Howell.
With GH2 you can go at 35mm...
 
PRICE: 990 US.plus shipment.
PAYPAL
 
Shot with the set for sale with Canon FD 35mm ( f2.0, 2.8, 8.0, 11) and also flower shot with tamron.
https://vimeo.com/83403811
 

Superb lens.  A top quality Kowa in different clothing.  

Im selling my Hacked Panasonic GH2 body with Nick Driftwood Quantum 9B updated hack plus San Disk Extreme Pro 64gb 95m/bs SD card
 
http://www.ebay.co.uk/itm/231133066555?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1586.l2649
 
Panasonic LUMIX DMC-GH2 16.0 MP Digital Camera  Black + Driftwood Quantum 9b hack + plus San Disk Extreme Pro 64gb 95m/bs SD card

Hacked Panasonic GH2 Nick Driftwood Quantum 9B update hack plus San Disk Extreme Pro 64gb 95m/bs SD card
18 months old superb camera the best non RAW camera on the market.

This camera now produces Hollywood Quality movie footage:

I have added the classic Nick Driftwood Quantum 9b updated firmwear hack to the camera.
This now produes a stunning 150-170mb/s image , stunning detail and colour rendition.
This is the hack that was used on the famous Zaccuto Camera shoot out when Hollywood Movie Director Francis Ford Capolla
picked the Panasonic GH2 with  the Quantum 9b hack as his favourite over all the cameras including Sony F65 and Red Epic etc.

The camera comes with the original box and all the goodies that come with it
Original Panasonic OEM battery
battery charger
charger lead
Panasonic GH2 strap
and all the cables plus
instruction manual and cd discs that come with it

ITS ALSO COMES WITH SAN SANDISK EXTREME PRO 64GB 95 MB/S SD CARD.
This is the card Nick Driftwood designed his hack to work with, its gives you 55 minuites of recording time at full 150-170 mb/s rate.

The hack will only work with this card as it is a very fast read and write speed card, so I am including this card so you can use the camera
straight out the box without having to find the correct card to use with this hacked GH2.

The firmwear hack is very stable and Ive not had any issues with it.
 Hacked cameras can sometimes lock up under certain conditions, so Nick Driftwood recomcnds if this happens is turn the camera off and pull the battery out and
then replace the battery and turn the camera back on , this resets eveything and you are good to go again.

The rear screen does have a couple of scratches on it in the middle , this does not effect the image when the screen is on you cant see it as the screen is bright.
The camera is 18 months old and is in good used condition, see pictures close up ,  all fully functioning and ready right out the box to shoot your next project, just add a lens and off you go.

This is a PAL camera it shoots 24p and 25p hacked AVCHD

NEW DEAL:
NOW  THE SET ALSO INCLUDED CANON FD 24mm 2.0
 
 
Optivision 2x with rear(52mm) and front(72mm) redstan. Include caps.
Canon FD 35mm 2.0 
Canon FD 50mm 1.4 
Two FD to m4/3 adapter
0.5+ Tamron

The optivision got a modification to close focus (3 feet) and it's like new. Original box. Same sharpness as Kowa 2x Bell & Howell.
With GH2 you can go at 35mm...
 
PRICE: 990 US.plus shipment.
PAYPAL
 
Shot with the set for sale with Canon FD 35mm ( f2.0, 2.8, 8.0, 11) and also flower shot with tamron.
https://vimeo.com/83403811
 

Apologies for the delay in replying. I had set up the post to email me when replies were posted, but apparently this didn't happen.
 
Anyway, here is the link:
http://stellarsurvey.com/s.aspx?u=692218CF-93D8-490C-ABD1-3D50BB5E90D4&
 
You will notice nearly all the features you asked for.
I don't however ProRes 422 (not HQ) will be implemented, as this would cost BMD extra to licence the codec from Apple.

I had been a projectionist for a long time (now this profession has died), and from 2000 on I had also been a digital projectionist. Until 2011, when automation finally killed the job, I used to compare my own stuff to the DCPs, side by side on the big screens, in the last two years also as DCPs, when easyDCP and openDCP became available. The largest screen was 78 feet x 32 feet (that's for scope, for 16:9 the width then was 58 feet).
 
First thing I noticed is that resolution doesn't influence sharpness to the expected degree. And it also doesn't influence subjective quality very much. In fact, an upscaled SD DVD ( anamorph pixels with scope-crop, really the worst way to treat a video) could be shown to a big audience, and (back then) nobody complained, the class-A hardware scalers made it look good. I know this is hard to believe, but we once had a festival with student films, ranging from DVD, BD to genuine DCP (a Red!), and the one best looking was a masterfully graded HVX200 short, played from SD DVD.
 
On the other hand, there was a way to know instantaneously what was film and what was video: Colors. 

 
I know this comparison is only 8-bit, but I have to find a way to describe aesthetic subtleties here. With a camera like the GH2 ("Musgo"), for example, one would be well advised to fill the frame with detail, textures (resolution, that's the GH2s strength) and not with skies and other big areas of glorious colors.
 
Right now we grade for 8-bit, so 12-bit raw is *just* a bigger palette for grading. Color depth seems to add a new dimension to our video. It's fun to tear the, er, bloom off the images and to dive through the colors. Would it stand against an Alexa? I can't tell, really, but I'm convinced it would do better than many others.
 
I can't wait to see a DCP with the 12-bit preserved in my old cinema.

Iscorama hanging on the Pocket. It's like when your girlfriend teases you in a sexy lingerie..
 
Besides I only have a few observations about this one:
 
 
Well, I think the "Pocket" concept is great because if you want to you can keep it really simple but seemingly it also let's you to buy cheaper rigs. Even the best looking Movcam/Tilta cages cost like 50% less than the older BMCC ones. Sure, you might end up spending more on memory cards (I believe this could change soon with more SD manufacturers in the game) but move on to the other things:
 
User replaceable batteries. The other Cinema Camera has one built in, but personally I like the option to change it any time because you are not restricted to plug it in a wall socket or an external battery. Probably I will use an Anker Power Bank anyway, but it's great to have replacement Nikon batteries in your bag just in case.
 
Also there's this topic on DVXUser where someone measured the BMPCC's rolling shutter rate, and actually it performs better than the BMCC - 17.8ms vs 25ms - not bad. I hate rolling shutter and the less I have to see it the better it is.
 
And for last, it became clear in the last few months that the Pocket's firmware gets updated more often. Blackmagic (obviously) places more effort into supporting it's new line-up which really puts the older camera on the legacy shelf. I feel more secured by getting the new camera.

Beware! This review is LONG! Have ten cups of coffee at the ready, or print it out and give it as a (late) Christmas present to someone you don't like.

The Blackmagic Pocket Cinema Camera is already good, we've established that much. But what's really making this a unique camera what is going on around it.

Read the full article here

http://vimeo.com/75728395

"The Pocket" is a polarising camera. It's as tempting to rave about the camera as it is to criticise it for obvious shortcomings.

However - bottom line is that this is an extraordinary tool. It is 90% of what I loved about the Blackmagic Cinema Camera without the bulk and strange form factor. In my mind it replaces the Panasonic GH2 as the cult favourite of prosumer video because it has an absolutely beautiful film like output and a very accessible price.

Read the full article here