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Posts posted by Tzedekh


    "Now if someone can find out how to make the perfect ergonomic camera with Super 35mm sensor for news, run & gun and documentary shooters, they will have a winner on their hands."


    I think that last line of your article says it all for me.  Weather the A7s, or GH4 or 5D, for many people shooting moving pictures would be perfect if the camera was actually designed for that purpose.  Canons C300 is just to expensive but still lacks the zero zoom built-in  yet the SONY X70 though 10 bit 4:2:2, misses the filmic highlights and other aesthetics people want.  So a large sensor, "camcorder" with 10 bit 4:2:2 internal and images that harken more in the direction of a black magic camera would absolutely be a winner.



    It's not just sensor size but also construction. There are smaller sensors with greater dynamic range, such as the BAE CIS2051 used in the BMCC. With any luck, some sensor manufacturer wil come up with a light-sensitive, HDR, 1-inch 4K sensor. With a removable lens and a SpeedBooster-type focal reducer, you can have shallow DOF if you need it, and deeper DOF without it. Sounds like a good solution, but probably not a challenge any sensor or camera manufacturer will take up soon.

  2. Larger sensor is going to have more problem with rolling shutter. The solution should be develop sensors with global shutter.  Sacrifice some of the sensitivity in exchange for solving this problem.

    Unnecessary. With a stacked sensor design, the global-shutter circuitry could be on a separate layer. Read comments by Alternative Vision's David Gilblom on this Image Sensors World post about the Epic Dragon sensor. Apparently, with global shutters, you can have your cake and eat it, too.

  3. It's nice to see Panasonic come up with a new codec. The data rates on 4K are getting ridiculous. Think about 880 Kbps ProRes. That's 110 Megabytes PER SECOND! That's huge!

    I was doing a little reading about H.264 recently, and the new features support 444, 422, and 10 bit.

    Microsoft also added these codecs to Windows 8.1.


    AVC-Intra Class 4:4:4 supports up to 12 bits.

  4. agree with Olympus being a letdown. really would love to buy one of their cameras because of the 5 axis stabilization, but why in the world wouldn't they bother to put in 24fps? it can't be that difficult or expensive to do. such a waste of a beautiful system


    and the same with Nikon's attitude of "we don't really see the point of video"


    I suppose Olympus didn't think it necessary. How long did Sony drag its feet before including 24p in a consumer or prosumer video camera?

  5. I don't think producing an APS-C sensor version of the BMPCC has to necessarily be expensive like a typical Canon spec APS-C video camera - i.e. $15,000. Why do I think that? Well the Blackmagic Production Camera has an APS-C (Super 35mm) sized sensor, shoots 4K raw with a global shutter and costs $4000.


    The CMOSIS CMV12000 sensor alone probably costs BMD at least $1,000 per unit. I like its global shutter. I'm not nearly as sanguine about its dynamic range -- I suppose we'll have to wait and see. I expect to see improvements in sensor technology involving stacking (i.e., the global-shutter circuits are moved to a different layer, thus allowing larger photodiodes) and dual (normal and high-gain) readout like that used in the BMCC's Fairchild/BAE CIS2051 or the Arri Alexa's sensor.

  6. Right, but I'm not following the signifigance in that. The Bolex market was mostly film schools by then.

    You said that the Bolex was not a Super 16 camera. The significance of Bolex doing the conversion (i.e., it wasn't simple a third-party, aftermarket service) is that, in effect, there was a Super 16 Bolex offered by Bolex.
  7. Well. You could modify just about any camera if you really wanted to, but Bolex H16 (created in the 30's) predates Super 16 (late 60's for cameras) though.

    Except that Bolex, not a third party, did the conversion and pretty loudly promoted it once Super 16 became somewhat popular. 

    The Hawk lens you're talking about wasn't released until the very late 90's, if I recall?

    You could say it was the very, very late '90s -- in fact, 2009.
  8. A couple of corrections:

    Bolex wasn't Super 16mm, just 16mm.

    The Bolex H16 was convertible to Super 16, and round-trip conversion between regular 16 mm and Super 16 could be done in the field.

    Super 16mm was a delivery format, created for anamorphic blowups to 35mm, for theatrical distribution.

    Super 16 has an aspect ratio of roughly 1.66:1 and blow-ups have usually been to spherical widescreen 35 mm. Vantage's Hawk V-Lite 16 1.3:1 anamorphic lenses allowed a 2.40:1 image to be captured on Super 16.
  9. Considering no external recorder is supporting Cinema DNG, and that recording 5K to SD cards would require alot of
    Compresssion, you can already forget about it.


    Not so. Indiecam's indieGS2K records CinemaDNG raw over 3G-SDI to the Hyperdeck Shuttle. Whether raw could be sent over HDMI is another matter. And it's probably less likely that 5K or even 4K could be sent over HDMI. I never said it had to be CinemaDNG, though. If the Bionz X processor can encode H.264, it certainly has enough power to encode 4K CineForm RAW, which requires something like 50-60 MB/sec at 24 fps, about half of what 2K CinemaDNG requires.

  10. A camera like the RX10 in full frame 35mm format would be a physical impossibility. There's simply no way currently to commercialise a 24-200mm F2.8 constant aperture full frame lens. If there was a way to design one it wouldn't be RX10 sized or have a built in ND.


    This camera only works because of the 1" sensor.


    What would be cool is if someone hacked the Bionz X image processor to get 5K raw out of it.

  11. precisely the point I was making , you are not going to make an TVC for Ford using a 5D with RAW

    industry standard cameras are the Alexa and Epic as they are proven and work


    I think it was the "sheep like" comment, which seemed derogatory, whereas Kays Alatrakchi was making the point that using industry-standard cameras isn't passively conformist but rather professionally prudent.

  12. So agencies are standardising around just two cameras? Man… I'm glad I'm not working for them :)


    In many ways it makes life a little easier. It's much like as it was with 35-mm film (and still is, to some degree), when most productions were shot on either a Panaflex or an Arri 35BL as the "A" camera. (Is anyone still using the 35BL?)

  13. BMD and Kinefinity can't compete with Sony, Red, Arri, and Canon at the high end, but they can carve out niches for themselves at the lower end. Unfortunately, they have only a relatively small window of opportunity, as 4K will fairly soon invade the consumer market. I can envision an NEX-VGxx form-factor 4K camera from Sony within 2 years that will produce stunning images, particularly if it includes an OLPF and NDs. HVEC will be practical by then, and even if Sony hobbles it with 8-bit 4:2:0 encoding (which I hope they don't), someone may hack 10- or even 12-bit 4:2:2 out of it, or maybe even raw.

  14. It would be interesting if someone could reprogram (yeah, hack) the Bionz X image processor to take the 5.4K raw and convert it to 4K CineForm RAW and then output it to the SD card. I would think that the processing power is there, as AVCHD encoding is probably considerably more processor intensive. The system bandwidth, particularly to the card, might be too slow, though.

  15. An f2.8 fixed zoom  starting at 24mm on a 1" sensor will not give you much of a wide angle nor bokeh.


    That's the problem of citing full-frame 35-mm equivalents -- people start thinking the lens actually is 24-200 mm. Its actual focal length is 8.8-73.3 mm. The low end is like 16 mm or 17 mm on APS-C. While not a fish-eye, that's pretty wide angle.

  16. Actually. All three will be worried as it borrows from thier cameras and stands a chance of filling a gap that's been gaping for a while now. The Sub $10K do-it-all. They are not quite 'there' yet but with some massaging and proper coaching, say in a year from now? Apple ought to give them rights to use ProRes as I disdain the thought of warehousing all that RAW footage knowing my delivery platform is tablets, laptops and handhelds.


    With CineForm RAW, the data rates are comparable to those of ProRes, yet the benefits of raw remain.


    My concerns are unknown sensor and unknown build quality.

  17. Because they don't have any real competitors at what they are doing they are able to capture the zeitgeist for the moment, but at some point someone else will come in and actually deliver (literally) what blackmagic is promising, and then no one will care as much about BMD. We aren't there yet. In fact, we're probably a long way away, but BMD's niche won't last forever.


    This is a trenchant observation. One can ask, "Who else is doing this at this price point?" The answer is, "No one. Even BMD is barely doing it." A company can promise all it wants, but unless it can deliver -- in reasonable quantities (buyers don't have to wait weeks or months) -- it doesn't matter all that much. Has BMD even filled all the backorders yet?

  18.  Only thing BM really has to worry about is GoPro, if they can make a 2.7k camera for $400...what can they make for $1000?


    Remember, the GoPro Hero 3 Black, which uses the Ambarella A7 camera sysyem-on-a-chip, can do 4K (well, UltraHD 4K) at 15 fps. The next-gen chip, the A9, supports 4Kat 30p. No reason that the Hero 4 (or whatever it's called) will cost much more than $400. If you want an interchangeable-lens mount and more I/O ports, well, they would add to the price, but all should still cost less than $1,000.

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