Leang

I see.  he said ''wider sensor.'' 

How can you say that it looks like BMC footage to you?  A BMC camera would have to shoot the exact same shots and scenes to be fair, and Cine lenses as well.

I think high performance video cards are more dynamic in structure than to just theorize that memory makes one better than the other.  for instance a high class 1GB video card supplied with different chips not found on commercial 2gb+ gaming cards have significant roles for editing multi codecs, resolutions, modeling etc...  I can say that I have a workhorse station and Adobe had recommended a Quadro card over the GTX.  I don't care much for the specified science behind it.  I just want to drive and test.  Which I did, so I ditched the GTX 590 for the Quadro 2000 and everything was much sweeter.  CS6 runs beautiful as always.  I can have Colorista II and Magic Bullet (2 plugins) on one clip in Full resolution playback running smooth on the Quadro 2000.  I couldn't get that with the 590.  Aside from the plugins the 590 was a sweet card for sure.

  I don't know about the new GTX cards, but I had sold my GTX 590 with extra change to spare for a Quadro 2000 and the improvement was 4x better.  I don't know much about the marketing schemes from nVidia but I can care less about the gaming performance.  This just last year running CS5.5 I noticed a significant difference in realtime plugin performance for the 590 and the Quadro 2000.  I'm still gunning a Quadro 2000 atm.  My rig is an Intel i7 990x (extreme) with a 24g RAM board on Win8.  No need atm to upgrade as everything is still running smoothly even with R3D files.  Either I didn't do settings right for the GTX 590 or it's simply not meant for editing.  I trust the Quadro's out of experience.  Not sure about the new generation cards in dynamics for gaming and editing, but I prefer a non gaming card tbh, and I'm pretty sure Apple is trying to target a new generation of gamers as well and follow the PC boat.

can't tell the difference tbh. need a pro flat monitor

I'm more interested in a next generation FS-100 with the XAVC codec. I hope it doesn't take another year for the codec to hit the semi pro cams

attempted fiction is better than no fiction. I always admire final senior projects or grad projects making use of the new gear around. it's usually the type of actor selection that gives it off. usually the undergrads. Seems a bit guy ritchie... this project lacks a really good DP? but overall I like it

I always thought the BMCC looked a tad Fisher Price tbh. it's ironic to force an artist to only shop at Walmart. so the BMCC is a Bill Gates action figure!

I guess I forgot that 4K TV acquisition is coming soon as well, so anything run and gun sports I guess the 1DC becomes very practical, and pros or companies will easily pay them.

Here's what's funny. Every dealer gets a nice cost by volume. If I was a sales kat for said retailer let's just say for example that the cost for a 1DX is $5,200 - and the retailer sets it at $6,800. ok... sounds like ordinary high dslr profit... But then when you learn that a 4K version of it at about twice the price, and from my understanding the exact same build, but different firmware, that's a rape in manufacturing scheme! I'm wondering how Canon set the cost for retailers on the 1DC in justifying a "firmware" difference. Think about it. It would be bad business politics if they set the cost for the 1DC around $7000. You then see the profit gain from $12K. or who knows. what was the S-log price upgrade for the F3 when it was offered? premium pricings for firmware upgrades are one thing, but exagerrated ones are another! or can anyone justify the cost for this weird body scheme?

nerds. lol

I have to agree with this post. the general image and dof is different from smaller sensors from bigger and full frame sensors. regardless of sweet spots from the glass you get a more optimized image from 35 glass. when you see the vg900 in comparison it's using more glass than the others, and you apply an actual shot aside from wide angle shots you get a better idea of what's practical. this is the best i've seen of the vg900 with dof who knows what conditions or glass was used for the test but was a nice test. i do appreciate the whole shoot and the original download for 2.5k comparison, but I don't have a monitor atm beyond Full HD nor can I assume the general public can see this advantage aside from pro studios... if wide angle is the fundamental for this test then even a JVC HMQ10 would be nice to compare knowing that it's such a small 4k sensor with amazing resolution. The JVC 4K is nothing compared to RED or the 1DC, but published to Full HD it's nice just like the BMCC but without the DR. the reality is 4K is coming fast along with more lenses at 4K. anything below is going to be old school. the Hero 3 at 4K wide angle testing is probably better than any of these in resolution. thanks for the test Andrew

[quote name='Stunko' timestamp='1353096133' post='21795'] Not quite sure why indie shooters are still using these anamorphic lenses? When professional film cameras are using non-anamorphics and just crop for Scope. And good luck finding a DCI-class digital cinema projector w. an anamorphic lens attachment. They also just crop. In fact, I had no idea that anamorphic lenses were still being made, with new models coming out now. Amazing. [/quote] there's more to it than just cropping for ''scope.'' in the new era of digital cropping in general is convenient, but that really has nothing to do with the optics. the dof of the image plus light hitting the glass has a special effect you don't get with ordinary 35's. projection systems for anamorphics was a popular culture in cinema. not too sure about the current high end protocols, but something to look into

the future is without a doubt new resolutions and image algorithms from the best pro cameras in the market. the small priced format BMCC or GH3 is nothing compared to the development of writing better cinema curves in the digital domain. we need to jump back into a culture of different film stocks. compression, shadows, artifacts, DSP processing, aliasing, moire seem to still be an obstacle in lower end pro cameras. true filmmakers with great writing and acting don't worry so much about that shit. use what you got. and unfortunately al this RAW marketing doesn't really mean much even after intense grading. realtime film stock emulations is what I would like to see. hacks for those things. not about shadow artifacts. as anyone knows you can shoot around those things quite easily. no every viewer cares much or notices real cinema forum talk. if it's good it's good. digital cinema is still at a very premature age right now still trying to look as good as original film. THEN NOW you have true 4K resolution captures ready for 4K home cinema. I'm telling you resolution hype is the future. S16mm feel like this BMCC or Digital Bolex will be boring to optimistic cinematographers that want to jump on 4K or 8K cams next. cloud 9

whats on spec paper really doesn't matter if it's lit well. it's great that pro cameras can differ in image quality, but preference and budget from an indie perspective all these cameras work great in dynamic range. the grading artists are really the ones that make an image shine, and when Iit by an amazing DP that fantasizes about composition and light you get an even better image to work off of.

Haven't been able to forgive Mihai Malaimare Jr. after Twixt. that film is some intentional hoax for real indie amateur work. the framing in he beginning of the film is hard to watch. had to be intentional.

If you're willing to spend around 4k then maybe save up just a tad more and get the Glidecam X22 kit. Amazing rig,

So Red One qty are avail?

I'd say wait until the end of Q1 - '13. we'll definitely have a better picture to recap the hype of this year. Also see what RED's Dragon upgrade will cost for Scarlett. Maybe by that time you might have some extra cash for a Scarlett and sell all your current gear for accessories needed. RED code is still safe and will still be strong for the next 2 years or more until they design a more efficient codec with the same results, or by that time SSD drive pricing will be far more cheap. the current syndrome for what medium to capture with, such as your questions, is a universal challenge. the smart ones ATM are being patient for further news.

[quote name='ScreensPro' timestamp='1352132766' post='21068'] Come on guys, it's not that bad and we know nothing about the sensor. What if it is outputting a nice, sharp, 12+ DR, lowlight, 60p, 10bit 4:2:2 with a flat, log style? All you need is a hyperdeck and you have a camera that is (potentially) better than a C300 and maybe an F3. Don't forget the NDs, XLRs, waveforms etc. For, what, $5k with deck and SSD? [/quote] My point is about interface for hardware. Panasonic did great introducing solid state format hence P2. Which records 100mbs with whatever data rate they choose to market. one of the main reasons the GH2 and GH1 got hype was its hack that supposedly records data more efficient for semi grading all on practical consumer based SDHC. Canon was rocking the MPEG format at 50mbs for a while. JVC seems to have a MOV priority for 36mbs on their pro cams. Sony too at 50mbs with their new trend at 50mbs. DSLR's have set the trend of H.264 or AVCHD 2.0 at a max 28mbs. So why does this cam have to suffer a lousy internal codec for a non breakthrough AG-AF series. This thing will probably ring at $6k and then I have to rely on a a separate deck as usual to get a hyped uncompressed stream? All I'm saying is that they should've implemented AVC-Intra into this cam. They blatantly have the technology. Seems like they just want to sell more of their decks and hype 10-bit 4:2:2 externally when AVC-Intra is already that spec even with their old AG-HPX300

What a bunch of crap. Again they dismiss adding AVC-Intra. The whole PCMCIA protocol to add micro SDXC or SDHC P2 for their future ideal workflow is just a redundant interface. 10-bit 4:2:2 50mbs at the very least. Really disapointing considering the cutting edge news from Red about pricing. It's obvious broadcast and wedding themes are more priority to them. They need not bother marketing it as a solution for filmmaking. sigh, I don't know...

Tempted to buy a Red One asap. Can Dragon be upgraded to the One?

I think in less than a year BMCC will release their 4K camera version seeing how much hype they have accumulated, and probably for about $6K - tempted, but all thıs 4K marketıng ıs beıng rushed lıke a devıl's pool.

[quote name='sanveer' timestamp='1351951896' post='20959'] Dude, everyone is entitled to an opinion. IMHO, Nolan is a better director than Scorsese. Though Nolan has directed only 11 films, and Scorsese has directed a LOT more (TV series documentaries and 3 shorts, against Nolan's 1). Also, I don't believe, Shutter Island is Scorsese's best film. I didn't quite like it. Nolan is 42 and Scorsese is 69. Nolan has still a long way to go, and still has a lotta cinema left in him (If Clint Eastwood is any indication, then, quite frankly, Scorsese has a lotta cinema left, in him, too). Also, the Star Wars series seems something similar to Nolan's genres (Batman and all the dark movie psychological thrillers he makes). [/quote] I didn't say Shutter Island was Scorsese's best film... However I turned over 4 people who loved Inception but when they say Shutter Island they agreed it was better, focusing on acting and Dicaprio. Cape Fear ring a bell? Scorsese can do noir blindfolded. Age Of Innocense's camera work is ridiculous man! Scorsese has different paintings. Nolan rocks usually the same cast, same plot structure, music... Gets tiring. Anybody will tell you the magnitude of Taxi Driver for its time. Nolan? A Batman franchise in which IMO finished with Tim Burton. Kept it magical, dark, and old school comic. This played out bat suit is getting old like 80s b movie action flicks. Not post modern or artistic just special effects. But like you said everybody's opinion.

[quote name='OzNimbus' timestamp='1351638206' post='20667'] Looking forward to it. Hopefully they get a great director like Nolan to do it. [/quote] Why because you love B action Batman Films or thinking that Inception's acting was better than Scorsese's "Shutter Island?" :P