Bruno

Well they should have a pretty good idea yeah, whether they're sharing it or not is another thing, but this is kind of their job so they should know...
They keep saying July, just last week someone from BMD said July, they booked two events in the USA for July and August, so yeah, I'd say they have an idea when they're shipping...

Why does it have to be one of the two?
I repeat, they're not late yet, they said it would ship in July, so if cameras get to the stores by late August I don't see that as "late".

However, if they do fuck up again, I'll be the first to point the finger and blame the way they're doing business. Just not before.

I'm sure he wasn't referring to unreleased cameras...
 
I'd like to think that BMD's silence means all is going according to plan.
It's not that uncommon to only see images once the cameras are out, they might be optimizing it till the very last day.
Most people see the 4k camera as a whole new product that will be a cumbersome task for they to overcome, but it's basically the BMCC with a different sensor, should be no big deal really.
 
Also, I learned that pre orders are for fools. From all the few things I've preordered lately, I got none before they were easily available everywhere else, what's the point? (on top of being a greater risk since you don't get to read all the reviews beforehand)

You'd be surprised how many great h264 dslr shots were keyed perfectly.
Having more depth helps, but probably not as much as good lighting.
Also, using something like 5DtoRGB to transcode to Prores444 helps a lot when keying DSLR footage.
 
 
 
 
I read somewhere it comes with a faster controller. If it's the latest could go up to 105Mb/s.
And also we don't know what's going on inside it... what if Canon gave us a compressed raw stream instead of an uncompressed raw? Sounds extremely unlikely, but so did raw in the first place. CPU and other optimizations might also help make it happen.
From the moment a 50D can shoot 1080p raw, I would certainly not rule out the 70D, especially this early on. :)

I think you shouldn't buy anything. You already have something to play with that lets you learn film. For the handful of days a year* you need better quality than that, you should rent a professional cinema camera appropriate for the budget of your productions. Working with a professional kit will teach you more about film and what you're looking for than just a notch or two kludges up from where you are now would. And it will authentically deliver the quality you're seeking rather than just get close to it. And it will work out cheaper in the long run.
 
* EVERYONE thinks that if they only got the camera of their dreams they'd be out shooting every day. That has nothing to do with reality. Professional camera operators shoot every day, and some of them have their own cameras but most use what's provided or rent. But camera enthusiasts are people who rather than take what they have (even a cellphone) and shoot with it every day they sit around and think getting a better camera is what's holding them back from shooting. Sadly no. And anyone who isn't a pro camera operator, but is instead making entire productions themselves, will learn that capture is only about 10% of the process at most. Pre- and post-production in all its forms is at least 90% of your time. So the actual cost comparison of rental has to take that reality, so strongly denied by the ambitious amateur, into account.
 
Plus you can usually find a friend with more money than sense who has made this error to just lend you a better camera rather than buy one yourself.

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.

Spielberg, Lucas and Soderberg are all whinging about the state of the industry because things aren't going their way so much as they used to. I'm sorry but is anyone surprised red tails couldn't find distribution or that Lincoln had difficulty finding it? These guys want to make passion projects with big budgets and full theatrical marketing campaigns.
 
hot tip, if you want to make a period piece with a niche audience how bout trimming your budget down to <30 million, yes Lincoln was a commercial success in the end, but what exec wouldn't be adverse to plunging 60 million plus into marketing a period film for theatrical release.
 
There is no crash coming at disney, this is a company that makes 30 billion, yes BILLION a year on merchandising alone. 250 million is literally nothing, sure they won't make a lone ranger 2, but it's not going to cause some cinema apocalypse. It's a hit and miss game, but as you can see if you have a library of "hits" they will generate ridiculous money on the back end for years to come.
 
I know we all want to see less of these sort of films and more original, exciting storytelling. But predicting the fall of the popcorn film industry based of one flop is wishful thinking.

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.

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.

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?

I don't want to grade before I edit, nor do I want to edit DNG so proxy and reconform seems sensible.
 
So raw to dng, then turn these DNG sequences into little H264 or DNxHD proxies for editing. Then send this sequence to AE or DaVinci  and replace the H264s with the original DNG sequences for grading.
 
Grading before editing seems like the wrong way round to me.

Seriously, this is like reminding people they could cook for themselves at home and save a buck or two everytime someone suggests a new restaurant. It's retarded!

I could give you an endless list of things you could make or build for yourself and save loads of money in the process, but what's the point?

We all know we can build our own computers and save 10 cents in the process, it's just that most of us have better things to do, get over it.

Building computers is a great thing for sure... if you're into building computers!
But if you're into filmmaking or movie editing, then you should probably be making or editing films instead.

People are here discussing a product they'd like to use (or not), why do you have to come here with the same old talk "oh if you cook at home you can use only the ingredients you like and it's much cheaper". Go build a computer or something!

That's all great for people with time and an interest for it, but that's just a few of you. If I get a larger project that requires another computer (or more) I can just grab one at the Apple store, turn it on and log into my apple account, and all my apps are there, do you think a client would wait for me to order all the parts and then spend a few days assembling and troubleshooting a new machine, even if that was what I really wanted to spend my time doing?

If I have to spend a day assembling a machine then I'm not saving any money at all. No one's forcing a Mac on you, if you don't like it move along, nothing to see here, I'm sure there's plenty of forums where you can talk about building your own computer and how much you'll save.

Wouldn't be surprised if one of the next Canon models (or even existing ones) could be hacked to do 4k in the near future.
Actually the 5D3 probably already does it, the problem is getting all that data into the card.

The tendency with most products is to have more and more niches and choices. With the recent makers' revolution, we find ourselves buying specific niche products directly from the makers more and more, instead of getting the mainstream generalized version from the big brands, it's all about customization and having your very specific needs solved.
 
Maybe we can see that with cinema too? Maybe we'll start seeing independent theaters making their own programmes instead of following the big studios' distribution schedule. Maybe the managers/curators of these theaters will start dealing directly with the independent filmmakers of the films they want to show. Maybe each film and director will be almost like a band that goes on tour, trying to find theaters that will screen their films and sell them to those specific theaters. There's always YouTube, Netflix, etc... for a wider distribution model, but these independent theaters would give you the cinema experience...
 
Whatever happens, I'm sure good cinema will eventually find a way into the cinemas, might happen in a totally unpredictable way, but it will live on.

Firstly there is a multitude of problems that were allowed to happen, that has had this announcement made and uncharacteristically these comments are made by the two people often associated with destroying Hollywood in the first place, whilst both Lucas and Spielberg created moments in cinema that yielded the terminology 'blockbuster', they are not to blame entirely.
 
The studios having let the dreamers of the 70s have their way, in order to stop their film industry falling apart, an industry that no longer knew what to do with the fast changing cultural landscape of the era, decided to play observer. In observing they saw a formula and took the reigns back, what they didn't observe is the 'why' and focused only on the '$' these films made. Having run much of the Hollywood gauntlet under this ideology worked until the era of todays audience kicked in, or more importantly speaking the age of the internet. Today audiences are in charge and the film industry is having to fight back against many other forms of entertainment on many different portals out there, what is making it worse in this 'tailored to my own choice' era, is that again the industry isn't wanting to understand or learn from, so they keep upping the event tentpoles and not the culture of what cinema has been for a 100 years.
 
Originality costs today, that is the fundamental reasoning behind remake culture, the last studio original fable was Inception and Nolan had to earn that, and did so with the ROI of TDK and the promise that he would also do TDKR. The same goes for Spielberg, just because he has made a lot of hits doesn't mean they will bow to him, the business is about the business of film, so for Schindlers List to be green lit, he had to sign for JP:Lost World and when you watch that film, you can tell right away his heart is not in it, in any of it, because he had to make it and not wanted to make it.
 
As for Lucas and his Red Tails nightmare, the business told him 'no one would be interested in that particular story, it was the business talking and he didn't want to listen, this was both right and wrong. Lucas accused the industry of being racist and this was a huge error on his side of reasoning, a little blind sided and more in line with a trouble maker, than as a bonafide reason. He should have understood what the industry was saying or just financed it himself, which he ended up doing.
 
At the Berlinale this year, I spoke with a lot of buyers at the EFM (European Film Market) as I have a UK thriller script set in the Afro Carribean UK community and even though it's not about the culture of these people, the first thing more than half of them told me was, we don't buy black stories, when I probed why, rather than assuming the worst, they said we cannot sell them, it was that simple, they were being truthful about sales which is what they do and they know what they are talking about, they were not being racist.
 
What is clearly missing and has been for a long time is what the culture of cinema used to be about that led to an industry being fruitful and now that there are signs of it becoming fruitless, no one wants to understand the hierarchy of the failure that has led to that.
 
If anything, the people, as in the audience, well they are in charge now right, not the studios, and are dictating what is being made by them. Good you might say on one hand, well actually it is bad on the other, because for every $1b, an empty and void of content Iron Man type movie makes, this only guarantees to Hollywood that that is what the people want, hence why they will only give their energies and resources to keep making them. However, if only those type of movies are shown, what choice do we have? It's a vicous circle, and until once more the industry collapes, and again they ask the creatives to give them back an industry again, it will be too late.
 
We cannot have the 70s again, and Hollywood cannot rely and hope the same can be repeated again, because those that can have gone on to other portals now to deliver them, furthermore, watching cinema and that magical artful experience of having a voice shared by many at the same time, a voice that matters first, is truly if not already lost right now.
 
A New Hope is more than needed, both culturally, creatively and most importantly, in alignment with an industry willing to listen and apply.
 

Designing something is not just coming up with some cool empty concept artwork.
Design is form+function, and in this case the seamless work between art and engineering.
3D modelling or photoshopping a cool enclosure and calling that "computer design" is a bit of a stretch.
 
 
That's an extremely important point, but a bit out of context here, since they've announced that the new Mac Pro will be assembled in the USA.

It's hip to hate #1, whoever they are. So we hate Canon, and Apple, and Philip Bloom. But usually they got to #1 on at least some merit. Merit we can often learn from. And economies of scale provide them profound advantages over the other contestants. Advantages to us that can more than make up for any peccadilloes that we might be persnickety about.
 
Go ahead and hate #1. You will be my enduring Internet hero.  :rolleyes:

http://www.canon-europe.com/Support/Consumer_Products/products/cameras/Digital_SLR/EOS-1D_C.aspx?type=important&faqtcmuri=tcm:13-1052896
 
"Customers who wish to update EOS-1D C to Firmware Version 1.2.0 are requested to bring their cameras to our authorised service facilities."
 
Someone doesn't want someone to have access to their firmware upgrade files... :)
 

http://www.canon-europe.com/Support/Consumer_Products/products/cameras/Digital_SLR/EOS-1D_C.aspx?type=important&faqtcmuri=tcm:13-1052896
 
"Customers who wish to update EOS-1D C to Firmware Version 1.2.0 are requested to bring their cameras to our authorised service facilities."
 
Someone doesn't want someone to have access to their firmware upgrade files... :)
 

Seriously, why would you use a hacked old camera that shoots below 1080p res when working with a client? This is great news and very interesting as a curiosity, but that would be a quick way to lose a paying client.

That's the thing, though... it's NOT free. Not everyone owns the 5D. Most I would say actually don't. And if it's a choice between buying a $3,000 camera that shoots a few seconds of unstable raw and buying a $2,995 or $3,995 camera that shoots stable raw at a higher resolution, I'd say that Blackmagic still wins when presented to undecided customers.
 
If anything, I'm still tempted to buy the Blackmagic Pocket over this. 1080p raw for $999. Take the two grand you've saved over the 5D and go out and buy some nice m43 glass to go with it.
 
I agree this is a nice treat for folks who already have a 5D, but I still don't believe the raw abilities of this camera as it currently stands warrants a $3,000 purchase.
 
But again, if Magic Lantern can actually make this stable and eliminate those image-tearing motion and vertical line issues (that I notice Andrew keeps conveniently ignoring) AND gives us TRUE continuous recording that last for several minutes before dropping frames (which by the way should absolutely make it a total dealbreaker) then I'd be happy to drop the money and buy it.   
 
It's getting there, but it's not quite revolutionary yet. 

It's not only bullshit, it's also how most, if not all, of the (digital workflow) movies you ever watched were edited.
Editors work with lower res files, often ugly looking with timecode and sequence/shot info printed on top.
Once they have a picture lock, they replace only the used clips with the high res raw versions, and that's what you use for grading.
Technology might catch up soon, but in the meantime editing raw files is cumbersome and hurts your editing workflow more than it helps.

5D3 has two card slots, you can have ML on an SD card and shoot on CF cards.

Yeah, just a few days ago Andrew was saying it would be highly unlikely that Canon's upcoming DSLR cameras would be capable of a 10 second raw burst, and now on the "old cameras" we have a 40 second limit when shooting continuous raw, and that's because of the file system, not the camera! :)
 
I've said this before, I'd rather pay for firmware upgrades that give us more functionality to an existing camera than buying new camera bodies every year. Mostly for environmental reasons, but this would also give Canon more time to work on the software side of things, instead of constantly developing new hardware, with small technological improvements, they could work on bringing the firmware to the next level.
 
This proves that could totally work, there's a lot to be milked out of a 3 or 4 years old camera if you have proper access to it, something that ML doesn't have. A lot of technology surrounding the camera evolves every year, such as card speeds, and features that weren't possible 2 or 3 years ago could now be implemented on that same hardware.

Yeah, just a few days ago Andrew was saying it would be highly unlikely that Canon's upcoming DSLR cameras would be capable of a 10 second raw burst, and now on the "old cameras" we have a 40 second limit when shooting continuous raw, and that's because of the file system, not the camera! :)
 
I've said this before, I'd rather pay for firmware upgrades that give us more functionality to an existing camera than buying new camera bodies every year. Mostly for environmental reasons, but this would also give Canon more time to work on the software side of things, instead of constantly developing new hardware, with small technological improvements, they could work on bringing the firmware to the next level.
 
This proves that could totally work, there's a lot to be milked out of a 3 or 4 years old camera if you have proper access to it, something that ML doesn't have. A lot of technology surrounding the camera evolves every year, such as card speeds, and features that weren't possible 2 or 3 years ago could now be implemented on that same hardware.