cameraboy

yes , mount is problem .... cinema camera without possibility to put pl lens (or lomo )...
people use PL lens on gh2 or hot rod canon dslr so price of camera is not important if it does job...
but let hope that soon we will see BMCC with new mount...

[quote name='avrofilmvideo' timestamp='1346708171' post='17246']
Cameraboy,
Please name me 1 single job YOU shot on RED or Arri ALEXA Please.
[/quote]
of course i will...
but first can u explain me how "digital processing inside camera head is nothing special "

"black is crushed" in RAW?
HAHAHAHA..
someone waist 20000...
no good in low ligh ? maybe not in12800 iso as c300 ... but if u spend 20000$ for lens feed them with light ...
this camera is close to arri alexa and epic in image quality ... and many people wont believe and i expect lame reasons why as "its a 3000$ cam" ...

this is bmcuser from forum
"
Here's a beta version of GoPro CineForm Studio Premium for Windows. With this, you can use the Studio interface to convert CinemaDNG files directly into CineForm RAW. The conversion will automatically adjust to the white balance from the sensor and the color matrix in the CinemaDNG files...this will eliminate the green tint that you were seeing with the dpx2cf tool (doing it non-destructively.)

Usage:
Launch GoPro CineForm Studio and use the 'Step 1 Import' room to select a single file from the image sequence (it will automatically import the rest of the sequence). For simple batch importing a lot of clips, drag in the folder(s) containing all your shots from an explorer window into the import clips bin.

Then in the 'advanced settings', choose your conversion settings.

Quality: Filmscan 1 is sufficient but if you want to get into the shadows a little more, go with Filmscan2
Encoding Curve: Up to you (Protune default is excellent, optimized for 11)…, but again, upping it to 13 stops will let you get more detail from the shadows.
Decoding Curve: Play around and see what you like best...you can always change this setting after the conversion.

Then add the clips to the conversion list and click 'convert all'.

After conversion, proceed to the 'Step 2 Edit' room to do the adjustments you're used to doing in First Light.

Installer:
[url="http://software.gopro.com/beta/GoPro....152-Setup.exe"]http://software.gopr.....152-Setup.exe[/url]

Keep in mind that this is a beta and your feedback is welcome.

Regarding Resolve not seeing the adjustments you make in FirstLight and Studio, that appears to be a choice made by BlackMagic Design for Resolve. Hopefully they can add implementation in the future.

One more thing...Mac version is in the works!

Jake Segraves
Software Technical Support Manager
CineForm | GoPro...Be a HERO."


"in theory yes but I can´t tell the difference. I pixel peeped it until my eyes started to tear up. With 3,5:1 compression ratio it´s better than the usual 5:1 Red Epic files.
It´s just my opinion but I think doing an uncompressed workflow might be okay for 20th Century Fox but is insane for the main target group of the camera!

Those 4 seconds clip fragments John released are 500 MB each. Cineform RAW is 1/4 that size."

dpx2cf is old way to transcode DNG to CINEFORM and u get green tint problem ...now its optimize in CineForm Studio Premium ..

exactly because it's low budget they can't afford best possible quality ...
now u start to make sense ...

@pietz
you just try to defend you territory ... prores vs RAW is just like JPEG vs RAW ...and it's not about the money ,yeah right :lol: (producers never care about money)...your project cant afford ARRIRAW thats it is reality and dont make this topic in to pissing contest ...
real professionals do testing and thats is reason why important projects are done in ARRIRAW ...

people are so protective when they talk about their workflows and gear :) ...prores is far from perfect ....
i saw tests prores 422 vs nanoflash 280mbit in fast motion and prores show sings of degradation ...
RAW vs prores ,not even same leage ...maybe for TV when image is degrade by low brandwith ...
in next year or two when tv postproduction start using some kind of RAW standard same people would attack prores users as amateurs ...

this is new camera with new possibilities ...being in same mind set and look at it as a another form of DSLR is waste ...
if u dont want to change workflow than stay with DSLR and save yourself some money ....

or go with cineform RAW (fastest and most elegant solution) ... u can do it in real time with not so fast computer when you download from SSD... in 5:1 compression bitrates are similar to GH2 hack ... and its les cpu intesive than prores or h264 ... only downfall is 300$ for cineform and less time on SSD...

new Apocalypse Now 444 patch looks great....

for resolution charts lovers .....
BMC vs C300 vs EPIC

http://www.bmcuser.com/showthread.php?906-Resolution-charts

people dont dismiss RAW ...its blessing ... just use cineform raw ...transcoding in realtime and u get bitrates similar to PRORES ...
and its light on CPU ... try , u never look back ..

i know ...
i still doesn't like digital look ...i always like film ....

at the end this is good thing for as customers ... all that CANON loyalty pushed others to give more for less money (like SONY)...
i dont care if someone would buy this camera or 5D3 i care about response of others players ....

i agree that there is more distortion on wide lens but not that much in center ... but what about lens light fall-off on FF APS sensors ... or loss of resolution in corners ... people should ask them selfs why now do we need 12800 iso to shoot ... because we need at last 5.6f or more to have usable DOF on FF...and dont forget that CANON rates their ISO half stops lower than real...i color corrected 5d3 , 5d2 and DNG from BMC ...if i would say they are equally usable or in the same league i would not be polite or diplomatic i would be a lair ... few years ago CANON started revolution but BMC starts new one ...

i start to get disappointed with this camera ...
no 60P ,hdmi 420 ...
to much crippling for me ...

but CANON told as that 5D3 is kettle that makes perfect toast ...
:)

avchd 422?
looks like a new flavor of H264 ...
if thats true and i own c300 ...
o boy ...

[quote name='Philip Lipetz' timestamp='1346247420' post='16809']
Why choose over BMCC? To avoid costs of SSDs, graphic cards for post, rig, monitor, audio xlr rig, and HUGE storge costs. The BMCC has ver very limited low light and is not suited for event or doc work, and that is according to them.

Also, the C100 has XLRs I handle, allowing for a much more compact setup than a c300. Have to see of color banding is an issue with the AVCHD codec.
[/quote]
if u buy Ferrari u need good set of tyres ...
and u can buy good ones for 4000$ difference :)

c100 looks like as a decent camera and should be priced 2000$ less...
why would anybody choose c100 over BMC ...
video guys who are comfortable with avchd workflow and don't do lot of color correction ....
gearheads : BMC sensor is to small and they need extreme shallow DOF to express their artistic vision ... :)

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 ..

same mount same distance ...
if panasonic changed distance (focus shift) of the mount all their lens would lose possibility to focus to infinity ....
gh3 would be identical to gh2 an gh1 ...

C100 sits in the middle between fs100 and fs700...
better resolution than fs100 and log curve but not future RAW proof as fs700 ...
price 5000-6000$...

cool...
c100 looks good ...

c100 + HyperDeck Shuttle = c300
hm ...
i bet c100 comes without C LOG ....
i hope i'm wrong ...