Germy1979

Sooooo... Anybody watch the VMA's last night? ...next question.. Does anybody find it "unfair" that somebody like "2 Chainz" can get on a microphone, say things like "she got a big booty, so i call her big booty." - and you have to work in a factory, warehouse, cubicle, etc... Just to make in a year what he probably made in 2 hours last night?... I think they took the "Talent is not enough" approach a little too far. Because apparently, it isn't "shhhhhhit!!!" and should be changed to... "f--k talent." lol. Well thankfully, not everything sucks: Per Blackmagic: "We have also been working on a Passive Micro Four Thirds model of the camera. People have been asking for this as there are a lot of nice high end manually operated MFT lenses on the market, and the MFT mount can also be easily adapted to PL and other lens mounts using third party adapters. The new Blackmagic Cinema Camera MFT is expected to ship in December, and will be the same price as the original model. It’s identical in features as they are both the same camera, just with different lens mounts. The price will also be the same at $2,995. We will be working with our dealers to help people change their orders if they want." http://www.blackmagicdesign.com/products/blackmagiccinemacamera/ This changes things for me:)

Lmao!! I just got the update email!!! I really could give 2 shits about the panny glass, however!!! The Voigtlanders with the 0.95 aperture will change the game with the smaller sensor on here!! This changes things for me,lol. Now I have to cancel my preorder and get this mount.... Which will be more than likely, most people's decision since the MFT system has an adapter for every other lens in the world.... If I have that right?

I tried to edit the raw dng's last night in AE. It was hilarious... Absolutely beautiful though and I can't wait to get my hands on this thing. The C300 might've resolved the chart a little better, but it still looks like video and i don't know anybody that paid to see "Charts" this year... Afterglow looked marvelous, and after pushing the dog piss out of the images last night just to see what you could do, my only concern is the rolling shutter. Phillip Bloom said it was bad. But, his was a beta, and he used long lenses which are like magnets for RS. So long as it isn't ridiculously touchy on pans, i'm fine.

All of these are awesome. I never had a problem with detail on my Gh2, really just banding and lowlight performance... Maybe a log type profile would be cool.. It's exciting. But it couldn't come at a worst time since I just preordered my BMC...Things like, being able to use pretty much any lens, and a sensor who's dynamic range is apparently so good now, it's the name of the sensor... Shit like that.., lol! I've seen AVCHD 2.0 on a few spec sheets for the Gh3. I thought that was a revamp of the original 1.0, albeit better, but still different than AVC ultra and not quite as good. All in all the Gh3 has an intra based codec as well so the implementation probably still rocks.

Baddest ass camera test I've ever seen. [url="https://vimeo.com/48712404"]https://vimeo.com/48712404[/url] lol. enjoy.

Personally, i would hate the idea of butting my head against the celing when it came to my equipment... I like the thought of not being limited by the tools i have and therefore, i can take full responsibility if my movie looks like trash. So I will be shooting Raw. But i understand the issue. I bought my Mac 2 years ago. It is currently a dinosaur... My paltry 3.1 Duo Core..(Yes...duo core.) - with 8 gb of 1066 DDR3 ram can grade footage at the speed of smell....and this is transcoded 5d2rgb pro res 4:4:4....which is still shy of raw. So unless I invest in a computer with enough horsepower to render Avatar 2 realtime while I host the Armageddon of Warcraft, i may have no choice in the matter. Which.....f--king sucks. Nevertheless, I know people who DO have Nasa mainframes and regardless of the hassle, I've found the determination to create a better product is 10 fold turbo charged when your resources are limited. I have Apogee Symphony conversion with Antelope's Atom clocking it, Neve pres, great mics, Focal Twins, and my floors float. (i know... with a 2 year old Mac...audio is a tad less demanding in a comparison) - point is, I made more music when I was a broke ass with a hundred dollar M-Audio mobile pre and a Nova mic in my living room using Cool Edit, than i ever have with all of this high end shit I lusted over for years... I saved, and now I have it, and now all I do is master records for other people... It's paid for itself, yes... But my dream as a kid wasn't to be mastering music i don't even like. I think if you're not careful, you can fall into the gear trap pretty fast. God forbid I win the lottery, i'd probably kill myself for letting my room full of Alexa's and F65's collect dust.

[quote name='tony wilson' timestamp='1346284693' post='16901'] as der man says distance is not yer frend wid dis apperatus. same as using string and tin cans or foam cups for telefon talking to yer love ones string becumes a isshoe over distance and also trip dangerus der black demonic camra can be adapted by removin der distence betwixt der objective and der plastic camera eye have not got time to make a video movie how to adapted but my cousin elmer dinkley shows here der princple. of usin diffrant m43 lens on der new cam. please only cut plastic camra and ground leval priciple of distance reducton of black magic imagin der tree wood wood cymbolises der plastic front mount cut front like so [media]http://www.youtube.com/watch?v=VEpXASQ7seY&feature=related[/media] [/quote] ....what?

[quote name='cameraboy' timestamp='1346244112' post='16798'] i dont think that we should be obsessed with CANON marketing strategy any more ... it was long time ago when they have been only player in the game ... now we can choose CANON , gh2 (gh3) , sony , BMC , KINERAW etc .... good times .. [/quote] Yeah. I'm pretty sure the Kineraw kills it for $6300. Comparable price range and what not, What's funny is, people are buying these Canons up left and right. It's crazy. C300 $16,000 ....... Scarlet X (raw) $16,000 C500 $30,000 ....... Red One MX $25,000 5Dmk3 $3500 ....... Blackmagic Cinema Cam. $3000 C100 $6-8000? .... Kineraw S35 $6300 I guess it's just loyalty at this point.

Putting those into a 4:4:4 space along with 16 bIt (or 32 bit float) in AE really helps with the banding, stairstepping.

People love Canon colors. But it won't be 4k later on, then of course the frame rates, etc. Both of them look pretty video-ish. (C300/FS700)... Uncompressed helps a lot, but after seeing some of these clips of internal AVCHD and HDMI out comparisons, the AVCHD stuff is pretty damn good, especially on the D800. I didn't think Canon did AVCHD... Hopefully they do it like Sony does and it won't look terrible.

[quote name='Stephen de Vere' timestamp='1346232798' post='16775'] I can't find any reference on this site to the hope that the banding issue in GH2 will be resolved with the GH3. For me, unless that get's fixed every other improvement is pointless. Am I missing something ? [/quote] Not at all bud:). Most of us are wondering ourselves. I hate the halos that emit from bright lights. I made a 4th of July vid and every firework looked like a nuclear missle launch. It's (gh2) - definitely got its issues regarding how it handles transitioning shades and such, but we never got the freedom to create our own color profiles either. I love cinestyle for my T2i, but i recently started using Visioncolor, and if you're pixel peeping, it Doesn't do the stairstep from one color to another. I'd assume it's the 8 bit space it has to work with. In After Effects, when I A/B 8 bit and 16 bit workspaces, i can see the banding in 8 bit. 16 bit doesn't do it. (granted, i transcode 5d to RGB 4:4:4 as well. You should try it if u don't already... And use Andrews gamma fix technique in Premiere with the Fast Color Corrector plug. full range input, 16-235 output... Double check that last number though.). Your shadows boost cleaner, and your highlights don't look like a supernova. Personally man, Depending on how much they want for the GH3, if you're making movies primarily, i'd just save up a little more and grab the BMC instead? I only say that because you're much less likely to hit your head against the ceiling because of a lame colorspace, or a shitty codec, or whatever DSLR inherent issue you'd run into with a still's camera. I can't believe i'm about to say this, but the Gh3's a "still's" camera first.... (I'm f--king banning myself from this site for that one.lol.). But who the hell takes pictures with a GH2 anyway..? Ha! No doubt, the GH3 will be killer... But being completely redesigned, weathersealed, with an X series kit lens, (12-35 f2.8)... It's not going to be priced like a Gh2. People will easily drop $2000 for it if it's a killer, and it probably will be. If that's the case though, for a thousand more you can have a 12 bit camera with the option to shoot 220mbps pro res... And that's supposed to be the "lesser" codec! It's still 4 times higher than the GH3's. And i could almost guarantee the Gh3 won't be 4:4:4 12 bit raw. But wtf do I know. Panasonic could've gotten wasted last weekend and said, "you know what f--kers?!.. Let's just go all out with this bastard. Yeah why not.. 4:4:4, 14 bit, RAW, clean HDMI out, 13 stops, X- series lens, unlimited lens options, $2000... Watch the world sh-t its pants.". .....Only I would be that cool.

So, i've got the day off tomorrow... Been drinking and surfin the web. Ran across the A99 specs. Lol http://www.sonyalpharumors.com/sr5-full-a99-specs/ #feellikeaf-ckinnerd:) Don't drink and blog.

Quick bit of info: http://www.43rumors.com/ft5-panasonic-gh3-with-new-16-megapixel-wide-dynamic-range-sensor-12-800-iso-and-72mbits-in-video/

I need to research whether or not such an adapter even exist... But the Nokton 17.5, and the 25 are 2 of the fastest lenses out there. I'm just thinking in terms of dof. Plus, they look gorgeous and i wanna get the 25 for my gh2 now. Problem is, will that be the only camera i can use it on? The BMC's sensor is smaller..? It'd be a shitty waste of money if I got stuck with one option.

This is a camera for the guys that've never had the chance to work with high end features. You could still buy one of these for the price of an Alexa day rate. It looks to have everything it needs to stay afloat for future advances, i.e. firmware updates. The sensor's cooled, there's enough processing power to push those raw images, the chassis is aluminum for the heat, thunderbolt, etc. i almost venture to say, if Apple had made a cinema camera, the BMC bares a striking resemblence to an Apple product, lol.. A consumer Alexa, per se'... As far as its weaknesses, every camera has its weaknesses. You shoot around them. I think for the market this camera's aimed at, there will be a lot less to "work around". I want freedom and i think that's what you pay for. I don't want to can a shot because of my cameras shitty codec.

Thumbs up for "Towlie" btw.

[quote name='HurtinMinorKey' timestamp='1346108595' post='16655'] http://www.youtube.com/watch?v=p6WoXiSUz8A I will admit that I think there is something about the c300 output that looks especially fimic when used properly. If that makes me a fanboy, then so be it. The truth is, from all the sample footage i've seen, the c300 owns the fs700. Think about it: the fs700 was designed to be the Sony F3's bitch in terms of IQ, and that's what it looks like. The F3 is comparable to the c300. Using transitivity, fs700 is the c300's bitch. The fs700 is a gimmic camera. [/quote] Lmao. This could go on and on... I love to run and gun, so the C300 has a form factor that's appealing. All of the Cinema EOS stuff is awesome... It's just way too RETARDED expensive! Now there are hate groups devoted to Canon... Bite the curb Canon! i'd give a testicle to shoot with a C500, the problem is, i don't think even appendages hold enough market value to compete with Canon products anymore. (really...it's just a Red One.). Talking shit about cameras is like a past time.. It's like "Rome is Burning" for Photogs... Lol. I just think it's funny when it gets personal.. I like my T2i and i like how Canon delivers color. As big a "no-no" as this is, i put my picture profile on "landscape" the other night with a Nikon 85mm AIS f2, and watched a sunset.. It was absolutely gorgeous. Was it a keeper? I bet if i push the contrast to bring out the orange hues a bit more, then all the blacks will take a giant shit and it's over.

Jesus man. I don't have the patience for assholes and you're a better man than i am. I'd have probably been daydreaming the final scene in Jay and Silent Bob, where they seek out all the shit talkers on the blogs and beat the piss out of them. Half of those guys probably assumed you wouldn't see their comments anyway. So then it becomes an issue of pussies. Sorry, but people are less prone to say this stuff to your face... I could never run a blog. People get too damn hateful and disrespectful...(over a camera?)... And what can you do about it? E-bitchslap them? Nobody has any respect anymore. I didn't know this was originally conceived as a marketing website for your films, but that's cool man. I think you need to push your work more on your site. I'm not trying to tell you what to do by any means, but your blog draws more attention than your films it seems. You ever think about putting the assholes aside for a while and doing a feature narrative? I know a trash talking blog probably isn't your idea of living the dream & you write books for Gods sake. You know how to do it right, lol

Here's a video I did for the 4th of July with a Canon T2i and a GH2. The T2i had Magic Lantern CBR 3.0 with a Sandisk Extreme Pro 64gb/95mbps card. I used Technicolor Cinestyle with a Nikon 85mm AIS f/2 lens. The T2i was used for all of the "Daylight" shots of the festival. When it crossfades to night time with the baloons, enter the GH2. The GH2 was the same Nikon Lens. 85mm f/2. Smooth -2-2-2-2. I used the Sedna AQ1 patch i believe.. It's in the notes. I like the Canon colors, and the Cinestyle "log" profile look i get with the T2i. The problem is the shitty codec. Point it at a dark corner and prepare for a neat video slumber party. I only wish the GH2 had a log type profile, and my T2i would collect dust. It really doesn't matter i guess, but i vibe better off of the Cinestyle look when i'm filming. Here's the link: http://vimeo.com/45535389 (i'm posting from a cell phone so it might be the mobile site.. Just look for Jubilee from Jeremy Woods)

[quote name='EOSHD' timestamp='1346092744' post='16627'] It depends on so many variables - what dealer, how many orders they already taken, how far up Blackmagic's list of priorities they are, which country they are in, the batch sizes they chose to order. You'd sooner find the answer to the meaning of life I'm afraid :) [/quote] 😄 B&H. It'll be hilarious. I'm gonna make the most badass unboxing video of all time. Strippers, explosions, and anamorphic flares.

Boom.

Lower megapixels gather more light on the sensor because they can be bigger. High-Def images in motion (1920 x 1080p) - are roughly only about 3 megapixels. For example, a full-frame sensor with 10 megapixels would have more dynamic range than an 18 megapixel sensor. The photosites are bigger

So yeah... I'm pulling the trigger on one of these next week. Since i've never bought a brand new product with a backorder like this, should i expect - "you'll get it when we send it to you.". Or something like a Scarlet X delivery timeframe?... Any BMC customers out there that could shed some light?

No it doesn't with its stellar low bitrate... Lets say Sony, later, for no apparent reason though, - decides for shits and giggles to make it 4k?.. Lol They both manage to produce the most non-filmic looking images i've seen this side of a Flip, but even if the firmaware upgrade and the 4k capture device bring the fs-700 up to $15,000.... Those framrates start to make the difference. I don't DP mythbusters, so I don't need 900fps... But the 700 seems like the better bargain.

I wouldn't say no to this camera if someone offered it to me... But there are a lot of options out there. I Think Canon has a higher threshold than the rest when they observe their profit margins... The cinema EOS line must be allocated to the executive bonus department over there, because i would have a hard time sleeping at night knowing i was charging $10,000 more than the rest of my competition for essentially a lesser product.. (C300-FS700)..