Bruno

I wonder what makes you claim it is a better raw camera than the 70D, is there even any proper h264 examples out there yet? It's just weird that you even make that comparison, maybe you meant a different model? Magic Lantern won't be able to see what it can do before a firmware upgrade comes out, so I guess until then we can check for moire and not much more, when it comes to its raw video potential.

http://www.digitalbolex.com/alive/   A few raw stills available to download.

In a few weeks we should know whether the Black Magic Design Pocket Camera arrives on time or not, that would be a much smaller investment and a good upgrade in image quality with raw/prores shooting.

  It kind of sucks if it's worse than mkI (well not really for me since I own one :)  ), but for video, the softness could help improving aliasing, while keeping it as sharp as before, since you don't need as much resolution in HD.

I also like the the fact that Spielberg makes such a statement while developing the massive Robopocalypse :)

If things keep going like this, the big studios will do just fine. With Avengers and Ironman 3 alone Disney cashed in close to $3b, they can afford to lose 250m every now and then.   They have lined up one Marvel movie a year, plus an Avengers every now and then, 1 Star Wars a year and 1.5 Pixar movies a year, these are all guaranteed franchises, unfortunately, so they'll do just fine.   Also, it's quite sad, but the directors behind these $300m blockbusters struggle really hard to get a serious $30m film green lit, and most times they just can't at all, studios are just not interested anymore.   The separation between huge blockbusters and serious cinema is getting clearer and clearer, it's two different mediums and the indie cinema will find its own way, but there's no point competing for the same audiences and platforms like huge multiplexes, because they're two different beasts. I don't think any of them will implode, they'll just find their place, because a blockbuster shouldn't stand on an indie film's way and vice versa, but it will sort itself out eventually.

  Rolling Shutter doesn't just affect pans, those are more easily corrected, but you can still have nasty problems if you have different depths, which will tilt in different amounts. The worse, however, is when going for an extreme handheld look, since you get the jello effect all over, and that's pretty bad.

On a big budget film like this, multiply the budget by 3, and that's roughly what you need to break even... The Lone Ranger will join After Earth as a failure, who's next?

  The RED also has a rolling shutter, only a few cinema cameras have global shutters really. Not that I'm saying it's no big deal though, I hate rolling shutter.

Here's your PCI cards solution, if you really want it.   http://www.magma.com/expressbox-3t

I wouldn't write off this camera just yet, there's a chance moire has been fixed and the card controller is faster than previous ones, those two things alone could make this a hell of a great s35 sized sensor camera, which to me is still preferable to full frame for video work.

http://nofilmschool.com/2013/06/affordable-gyrostabilizer-besteady-one-prices/

  Calling it "The 1st 5D3 Raw Short Film" sounds a lot like a gimmick and IMO doesn't help any piece of art. Calling it "The first professional short film" is demeaning to every other videos out there made with the 5D3 with the raw hack, especially when it doesn't look that professional at all, not with the out of focus and poorly lit shots. A couple cheap LED lights could have helped getting rid of that nasty noise in some shots.   However, in regards to the works you mention, I must say that a film in post is not considered a finished film. :)

  The 5D3 gives you one of the best low light performances out there. 5000 is crazy high, if you consider what was possible just a few years ago. He mentions denoising footage in the article, he also mentions adding grain back, maybe the grain doesn't work so well with noisy footage.

  Raw is not a look, it's just additional detail and information to help you achieve whichever look you're after. It's the same as the "film look", what the hell is that? I've seen thousands of films shot on film, and they all look different, sometimes extremely different. It's the same with raw, it's just information for you to take and use as you see fit.

  What about wi-fi? If it's a fast one, it could be an alternative, and there's also a chance of USB3.

  The previous 18mp is quite a few years old, it shouldn't be hard for them to improve on it. If the improvement between the 18mp sensor and this one is equivalent to the improvement between the 5D2 and 5D3, then I think it's a good one! Construction is rumored to be better as well, closer to the 50D than the 60D.

http://***URL removed***/previews/sony-cybershot-dsc-rx100-m2/3   USB port is no longer covered by the tripod plate, what a genius idea! :) Some nice little changes, but unless the video quality has improved quite a bit, I'll wait for the next one.

Canon EOS 70D Specifications 20.2mp CMOS Sensor DIGIC 5+ 19pt AF System (All Cross Type) 7fps Built-in WiFi 3″ Vari-Angle Touch Screen LCD ISO 12,800 Maximum Dual Pixel CMOS Autofocus Full HD Video HDR Multiexposure Mode LP-E6 Battery Announcement on July 2, 2013 http://www.canonrumors.com/2013/06/canon-eos-70d-spec-list/     New sensor, let's see what it's capable of in video mode...

As mentioned before, the DVDs you buy over there have been converted to 25fps.   With Blu-Ray and HD, each system can play any frame rate, so movies can be stored as 24fps, there's no PAL/NTSC anymore, only the region lock, but it doesn't affect the contents.   As for strobing... doubling the frame rate for the shutter is supposed to emulate what would be the 180 degrees shutter on a film camera, it's got to do with cinematic motion more than strobing. What causes strobing, or flickering, is using a shutter speed different than your current frequency (50hz in PAL regions, 60hz in NTSC regions). Shooting 25fps at 1/50 will be perfectly fine for you, however, if you take your camera to the US (or any other NTSC region), even though you're still shooting 25fps, you'd get better results using 1/60 as your shutter speed (assuming there's artificial lighting of course).

Digital projection was supposed to favor independent cinema, saving millions in film duplication and distribution costs, however, most of the theaters installed their first digital projector on their biggest screens, and there's no way they would have an indie film showing in their biggest screen and a blockbuster showing on a smaller one, so that kind of doomed indies straight away.   I think smaller films need to start looking for places to screen by themselves, forget the conventional distribution standards, an indie director should take his film and go on tour with it, book as many places as he can, and do that while also using online platforms to sell the movie, just like a band, releasing an album and then promoting it by playing live, trying to make enough for the next one.   I'm sure it's great to make a successful film and not have to work again in your life, but those days are gone, and this ain't the only industry changing. The problem is not the change, it's the resistance to change that causes these breaking moments.

The picture is pretty clear "1,8-4,9", keep dreaming :)   Nothing in this article jumps out as a huge improvement on the RX100, but since it's a new sensor, guess we'll have to wait and see...

  We're more than one month away from the release date and you're already blaming them for failing two years in a row, I'm not sure you grasp the concept of "optimist".   Black Magic Design has been around for a while, they've proven their value as a company with countless quality products, they didn't settle with just that and decided to come out with a groundbreaking product, they ran into some problems but seem to be learning from that, it's still only one of their many products.   With optimists like you, who needs pessimists?

  You can rig any camera to make it large and heavy if that's what you need, but you can't fit a RED Epic in your jeans pocket, no matter what.

Ok, now they won't be cheap for long... :)   Don't forget the Angenieux 5.9mm, an amazing wide angle lens.   It's also worth considering quality cine zoom lenses, like Zeiss, etc. They will be more expensive, but for $2k-$3k you can get a lens whose S35 equivalent would cost you over $30k.