Ernesto Mantaras

Price!! Minimum shooting price is $3000 + $299 battery + $200 SSD + $100 vari-ND. Stick it on your tripod, shoot ProRes and you don't need to upgrade your editing rig. So a long way off $6500 C100 price for a better image. Same Canon lenses.

The only thing that was truly "scary" about that clip is how good the ungraded footage looks. FUnkin Redonkulous.

Alot of interesting discussions here. Still think people should step back and realize this is a phenomenal camera for its price point delivering great footage. Alot are still looking for the "end-all-be-all" camera, which will never happen. You wont see the big guys like Canon or Sony delivering on what we want out of fear for cannibalizing their markets. This is Black Magic's first outing into the camera making business there have been some pit falls but they should still be commended for trying something new.

Well, alot of people have become spoiled with how technology has made things so easy. Top quality images for the price of 3K, that still boggles my mind! Its incredible! Yet people still complain, of course pointing out one flaw that needs improvement is fine, but then to say its no C300/Alexa/RED Epic? That doesnt make any sense... I didnt know the C300/Alexa/Epic was only 3000 dollars. Thats when I throw their statements out the window, because they clearly dont realize these are in totally different market prices. The BMC isnt the end all be all camera, it has flaws, but for 3K? I can live with that. SSD are to expensive? Remember when people had to buy film? Digital can be rewritten over. Buy a few SSD's, you have infinite film real equivalent. RAW to hard in post, well you also have 10-bit proress, now your just being stubborn.
 
Crop factor, yes it is important, but not a deal breaker. Like what Andrew mentioned before, use wider lense. Not wide enough? Mount it outside the car, if you need the shot, you will find a way to make it happen. Spending upwards 8K plus for a camera on one shot alone? Doesnt seem plausible sacrificing image quality of the entirety of your film for one single shot if your on a budget, but thats just my opinion, do what works for you.
 
Sports shooting, weddings, If this is your goal then look else where. Black Magic "Cinema Camera" is aimed more towards the narrative aspect. Its aimed at the lower level price market of up-and-coming indie film makers, doesnt mean you cant use it to shoot a wedding but it wasnt designed for that type of shooting scenario, you'd want an FS100/700.
 
One again, these are only my opinion :)
What you shoot on is your decision, we are all creative in our own way and thats whats so great. Some scenarios are best with a small GoPro then an Arri Alexa. ;)

I see.  he said ''wider sensor.'' 

Some of the FF guys seem to want both the background and the subject out of focus most of the time :P

You can't compare the 'ludicrousness' of 11 stops of dynamic range recorded in 8-bit at 50Mbps to 13 stops of dynamic range recorded in 12-bit raw at 1.1Gbps.  Sorry, you just can't.

Look it really is time to nail this argument down so hard it can never get up again.
 
By your logic Super 16mm which is a 2.7x crop is also ludicrous. OK but didn't stop The Queen, Black Swan and Moonrise Kingdom being made on it. They're some of the best looking films I've seen in the past 2 years if not THE best looking.
 
Remind me of the advantages of a full frame sensor. So you can defocus everything apart from a tiny sliver of hair? Oh please... It looks rubbish. This is not cinema. In low light at fast apertures, my 5D Mark III makes focus unmanageable at close distances. You cannot shoot a film this way.
 
Like I say if a 2.7x crop is good enough for Darren Aronofsky then 2.3x is good enough for you. Super 16mm films have won multiple Oscars throughout history and nobody complained about the lack of shallow DOF or the film stock being ludicrous! Do you realise how silly it sounds?
 
It isn't even a 2.3x crop factor over the C300. It is a 1.6x crop versus the C300 which is what you are comparing it to, not a photographic camera with a video mode tacked on the back.
 
Super 35mm - the cinema standard - is not the same as full frame.

Dude, I think I'm becoming a hardcore fan of your work. Really good video.

http://www.youtube.com/watch?feature=player_embedded&v=LO7rxitFLZg

Thanks for [url="https://twitter.com/SmackChopG/status/273979426075713536"]G Xiong on Twitter[/url] for this one :)

Um, Maybe I'm misunderstanding you? It seems like you are suggesting that by attaching a rotary shutter it will somehow enable global shutter on the camera? As far as I know, the sensor has to be made to support global shutter in the first place. And, even if it did, it would need to be switched on in software before it could even be utilized. So we are also talking about hacking the firmware. And, there is a tradeoff with global shutter too. Loss of dynamic range so I would expect that we would loose the 13 stops of latitude in the process.

Am I missing something?

As a digital projectionist and a cinéaste (getting my eyes checked at least once a year, they work perfect for distances), I can tell the difference between 2k and 4k, and of course I prefer the latter. Sony's argumentation, that viewing distance is of bigger importance than screen size, is rubbish nonetheless, because you can get audiences only so close to the screen as is necessary to let them enjoy 4k by completely rebuilding your cinema. The rows would have to be almost vertical, like in some IMAX-theaters. I watched [i]Inception[/i], [i]The girl with the dragon Tattoo[/i] and [i]Skyfall[/i] (this one 'false' 4k) on a 10m x 24m screen, from row 5. Note, that nobody voluntarily chooses these seats, because inevitably there is also a heavy [color=#ff0000][i]distortion[/i][/color] of the image and people consider it a disadvantage not to be able to overview the whole screen (while, in fact, this is the idea of a big screen). What is more, most content still is produced in 2k, a very high percentage is still even filmed in SD interlaced (regional ads, but astonishingly also commercials for cars, and from row 5 these often -but not always- are unendurable).

I believe that within one or two decades, 4k will be the [i]de facto[/i] standard, but not because the audience calls and pays (more) for it, but simply because the equipment needs to be replaced anyway, and 4k will be quite affordable soon.

The reasons why videographers are attracted by 4k are:
> They think 'bigger is better', which is arguable, because bigger is just bigger.
> They never saw a true HD image in their life, because either their cameras didn't make it or (if they watch a BD on their HD-TV-set), they keep the aforementioned distance, shrinking the image to the size they are used to.
> They stare at their computer displays from the same distance, relatively, as they did with their old 800 x 600 CRTs. Tell anybody, that he should move to a one-foot-distance to his 24" display ([color=#ff0000][i]distortion![/i][/color]), and he will disapprove this advice.

Gawddamn Canon. There's moire in the damn brownies.

DONE.

I don't agree. Highest usable ISO is 3200. What other DSLRs do better for 2012? Only two spring to mind - 5D Mark III and 1D X. Both a LOT more expensive than the GH3. And in low light you need to stop the lens right down on those if you want manageable focus.

Needing more than ISO 1600 or 3200 at F0.95 in low light is rare.

As for tight spaces, I assume you're talking about shooting actors with the camera rammed up their noses. For that you will indeed be better off with a 50mm on a 5D Mark III rather than 50mm on the GH2. Oh I forgot - maybe use a 25mm!??

where that fascination with color filter array come from ?
its probably classic Bayer pattern as in arri alexa , red epic or 99% other cmos cameras ...


just look at the image and if u like colors great if u dont buy another camera ....

Then again Emmanuel Lubetzki has achieved som mindblowing footage with wides and deep focus....

I'm testing the Ikonoskop tomorrow :)

I plan to do a 2nd version with the 2.5K scaled down to 1080p and everything full screen.

I do believe The Walking Dead is shot on 16mm film. No DOF problems there.

I know YouTube compression will hide it a bit, but that video looks really clean for a 1250ISO video. Also kinda flat (but there's always crushed blacks in the very low end, unlike Canon's Cinestyle), yet it lacks a bit of detail. Perhaps it's about finding a balance in the custom settings.

As for moiré, I watched it twice and didn't find anything, but then again you didn't encounter any difficult textures.
Still, this is getting a bit pointless to me. I want to see a final version of the GH3 head to head against a GH2. I'm tired of looking for ghosts.

[quote name='EOSHD' timestamp='1353095592' post='21791']
Let's test this intuitive Windows 7 claim :)

Task 1. I need to backup the entire system. I click Time Machine, it is done. You click....
[/quote]

...Norton Ghost.

Eye opening because the VG-900 is a total, unadulterated, nightmarish disaster.

[quote name='EOSHD' timestamp='1353025707' post='21725']
What was the solution Charlie?

Separately I'm having issues with Resolve in Windows. Was working fine until a few days ago and now Quicktime decoder exe keeps crashing during sessions. Windows is so reliable isn't it??!?
[/quote]

Ha! As this was happening to me I actually thought about your words on Windows, because I've never had major problems using PCs (that's all I know, never had the luck or interest to use Macs) and facing this issue I said to myself "Andrew was right!". But much to my embarassment, I caused the issue, not Windows.
The problem was at some point when working on the first version of my project I imported an asset from my portable drive (while the project I was working on was in my PC, inside a 2TB RAID 0) and that's where Premiere left it's importing and also it's SAVING dialog at. So when I saved the second version it was saved into the portable drive, instead of my PC (saving is second nature to me, and I use keyboard shortcuts almost exclusively, so I didn't even look).
After encountering this issue of Premiere shutting down I rebooted and my PC has a quirk in which I have to disconnect every USB drive I have connected or it won't start (alright, this is an argument for you to hit PCs! haha). Apparently it always tries to boot from them. I tried to configure the BIOS to prevent this but haven't been succesful. So I just live with it.
Anyways, the drive wasn't connected when I reopened Premiere, so the projects didn't show up in the startup dialog, I connected the portable drive, checked my project folder, everything was gone, made searches on my RAID 0, and tried other stuff. It was only afterwards that I dawned on my that this folder mix up could've happened, so I searched inside the hard drive and there was everything I thought I'd missed.

So... you're free to bash me on my stupidity. But I'm still very relieved for not losing my work!

As for you trouble in Resolve, yeah, sometimes installing the most unrelated stuff can mess up other drivers. Perhaps making a System Recovery back to the day Quicktime worked can help you?

P/S: My real name is Ernesto, not Charlie. This is a username I've been using for more than ten years, it dates back to highschool times when I created a character of that name and I didn't trust the internet enough to give them my real name. :P

[quote name='Kingswell' timestamp='1353042743' post='21747']
No arguing the concept is brilliant, but 4 months and still no mass production is an absolute disaster of a release. Since the end of July its been week after week of problems.
[/quote]

I love how everyone has been treating this like they haven't been letting us know what's up the whole time. Like Grant hasn't been disregarding expected industry norms by giving us regular reports (and they are ridiculously in-depth!) every time he knows something. Get a grip people. I understand you are angry because you want your camera and you want it now but have a little compassion. This is not some kind of debacle where people are sneaking around trying to keep things secret because they are worried that it might cause a fuss. I for one feel that they have been up-front and caring the whole way through. I don't know any other company that would give a damn enough to keep us all in the loop like they have. Geez guys.

And think for just a second what it must be like on their end. You think it's fun waiting around for a week for some company to send you samples only to find that they are bad... over and over?

I sometimes imagine a different press conference for the opening of the GH3. It could have run as follows:

'We appreciated that many of you out there were trying hard to make our GH2 into something more than a consumer photo-camera. We didn't expect, that it's final success would be owed to the dedication thousands of you invested into making this product comparable to professional movie cameras. The GH3, we decided, had to be a worthy successor. While we put in some interesting improvements for still photographers too, we now make an offer for all of you who demand more - and not [i]moire[/i], haha - of it's video features. The market changes fast. The hacks of our original firmware showed, that you care less for a good compression with small file sizes than for the tiniest bit of quality you can squeeze out of it. We added an All-I-video codec at 72 mbps. The optional large battery grip also includes a slot for an SSD on which you can record ProRes at 4:2:2 10-bit, in variable frame rates up to 120 fps. It has two XLR jacks, which can be leveled separately with control knobs and a small LCD right beside.

Furthermore, we made a special software to fine-tune the color presets and to fully customize the camera to your needs. This is our offer to you. We invite you to take the advantage and make this thing the ultimate tool for all filmmakers on a budget.'