HurtinMinorKey

But be careful what you say about about him online. He might sue you if he disagrees with you.  ;)

GH3-- Here's a look at what it can do with the proper lighting...

https://vimeo.com/72737956

He sounds like a defeated man. I don't think he should have mentioned the haters in his farewell speech, He's done enough (more than enough), he doesn't really need to offer any excuses.

Say what you want about the man, he definitely changed the industry for the better.

The BMCC doesn't have a Super 35mm sensor, isn't very good in low light, the form factor isn't as good, it won't get 4K via an external recorder, can't do off-line CineForm, doesn't have built in LUTs, doesn't have a side-grip add-on, has issues with rolling noise, doesn't do 100fps 720P so I don't see it as a clear winner despite the lower price.

But the smaller sensor has it's advantages too, more lens options, better DR. But i agree that the main competitor to the Kineraw is probably the 5D3 because of the full frame.

Either way, the Kineraw seems like is stuck between a rock and a hard place in this market. If I was desperate for full frame, i really don't see the value of it compared to the 5D3. 

If it wasn't clear already, I think the rapid progress with the 7D makes it clear that ML is getting backroom help from Canon. This looks great. It's pretty crazy that ALL of the Canon DSLRs have gotten a huge upgrade virtually overnight.

And nice shooting EOSHD, love the shots on the elevator.

That a rental, not a price  :ph34r:

3X the rental price, and "rentals only" would be another restriction, which means >3X price. :P

IF View Factor can tart up the FW to give Exp Lock, then so can Go Pro

 

http://www.radiantimages.com/index.php/cameras/hd-beyond/gopro/712-novo

 

looks like money has changed hands :rolleyes:

For a camera that is more than 3X the price of the GoPro

Sounds (very) far fetched to me. Why would Sony be bothered by exposure lock on a GoPro?

Because a bunch of people want that feature....and the GoPro is already loaded as it is.  This feature may not be named specifically in the contract, but I'm sure that GoPro signs a contract with Sony that says exactly what they are allowed to offer in the camera.  

Who is GoPro's sensor supplier? I think it's Sony. So you have your answer right there. I'm sure Sony get's to tell GoPro what features it can/cannot have on it's cameras, to protect it's own camera market, as well as other markets where it sells sensors.

That feature is so easy to implement, it would already be on there if there wasn't something like a contract standing in the way.

So, you are probably not going to get that feature, ever. And no amount of complaining, letter writing, or boycotting will do you any good until GoPro switches sensor suppliers.

I think peederj is silly and ignorant, but i wouldn't call him a troll. Tactless, yes. Troll? No. 

I didn't realize that even though this is EF mount it only covers aps-c sensors and smaller. That should really help limit the distortion. So it looks almost like it was designed for the BMCC/BMPoC

So i guess this means they have a fully functional firmware compiler now?

Sony, Panny, and Canon have been pretty clearly colluding (even if not overtly) over the past 5 years. This is why we won't see "official" features migrate down the price-product lines with any speed.

I would have thought the fs700 market would have almost disappeared. It's got high speed (and maybe 4K someday), but it's image is no where near the raw cameras. It's a great camera for skateboard filmmakers, or other action documentary filming, but I've never seen it look cinematic.

I remember when the fs700 came out it was all the rage, but now it seems like aeons ago. Do people think this camera sold well?

Sensors should get bigger and we should celebrate them being bigger. Using a native res crop mode has awful false color artifacts and moire, not things you would find on 16mm film. The kit lenses on the Canon Rebels are better than anything we had for Super 8 and a lot of what's still around for Super 16. If the antiques are affordable it's because most people are smart. If you want to live in the past go all the way for heaven's sake and shoot and cut real film. Anything else is just hokey and hackneyed predictable instagram filters on your so-called "art."

OMG, i agree with peedrj for once. Somebody slap me. Sensors should be getting bigger, but with a couple of caveats.

Bigger sensors mean bigger glass, which is significantly more expensive. But we are pretty much already at the point where true cine glass (35mm) costs more than the camera bodies anyway. And with biggerglass that also means a bigger camera system. But i am surprised that no one has jumped the gun and gone for a 70mm market (aka going to 5 blades). That would be much more compelling (to me) than the RED Dragon specs.

There is some relatively affordable 16mm cine glass out there. So super-16 makes some sense to me. 8mm seems sort of silly unless i was going for a particular look.

I think the Canon C300 sensor is based on fast 540 60i pull downs of the separate RGB channels, i think that's one of the ways that they minimized the rolling shutter artifacts.

So I wonder if this has something to do with the global shutter.

It's just interlaced so it's like 25/30p with a smoother, no?

Yeah, that's it.

Lol, that's what I was thinking. Thanks.

They're deciphering the aliasing issue.  More than likely it's an AE downscaling problem.   A quick way to tell with the noise issue is a high contrast scene at ASA 400.  I was told it shouldn't be creating static like that at 800 regardless.   According to them, shoot at 800, 100% zebras, make them disappear, focus, record.   It likes light.

 

I'll pm you the outcome man.  As far as the amateur comment...  well:

 

 

 

It turned out you were right.  lol

the "No Country for Old Men" clip was directed 100% at peederj, because he likes to pretend he's a BMCC expert, even though he's never shot one.  Sorry about the confusion. If I thought you were a clown, I would have just assumed you were messing up and not bothered to check! :D

On second thought...  If your camera is in good shape and you're not experiencing electro-static in your shadows regardless of exposure, unless you're just dying to know the turn out for the sake of knowing, It only took 48 hours for somebody on here to pull the "I'm the real deal" card, and tell me I'm an amateur.  Low and behold the company themselves have confirmed I wasn't.  Jesus.. 

 

Thanks to "HurtinMinorKey"  for all your help, seriously! 

 

Thanks to Peederj for the reality check.  and good luck on the next Terrence Malick flick.  I'm sure he'll value your opinion.

 

smh.

Who called you an amateur? I'm interested in knowing the outcome cause I have seen similar phenomena, to a lesser degree, in my own shots when i under-exposed.  Did they explain your problems with aliasing too?

BTW OP=Original Poster (or thread starter)

@hurtin

 

use the AE workflow if you are going to really try and recreate the issue.  

By AE, you mean After Effects right?

Word is BMD took a look at the DNSs and they are considering the camera defective.

You mean DNGs? Lol, i'm surprised. I'm going to see if i can recreate this issue in the lab.  I've seen it before in my cam, but only under similar circumstances as the OP. I hope the OP keeps us up to date

The plot is about to thicken....

Oh  shit, why?

So ideally, video display mode is like a rec. 709 in cam lut that acts as a better reference when shooting?

I think that's a good way of thinking about it.  And remember, since you are shooting raw, you don't need to worry about what stuff looks like on the screen very much. Honestly, the POS screen on the BMCC is only good for two things, telling me what's in focus, and making sure i'm not clipping or drastically underexposing. 

I kind of think of it as shooting film with a light meter and no reference monitor.

What is going on in AE that would create this other than "pushing too far" because lets say a person DIDN'T push in post but still see the noise?  Could a export setting or project setting cause this?  Possibly a debayer issue?  Maybe AE is doing something "auto" during export?  

 

Basically, now that we're sure it isn't a hardware issue, it's obviously a workflow/software issue....but what? lol 

But he did push it in post, and that contributed to the noise. Even though it wasn't much, when you expose to the bottom part of the range in raw mode the camera is really sensitive (that's why its DR is better than other cameras in it's price range).  It's also why exposing to the right within reason (95% clipping on brightest spot), gets you the most control over your image.  

ETTR and clipping are two different things.  You should never clip.

JG, the most sensible point in the DR (as you said) for the BMCC is always going to be the least sensitive region (the right), such that you do not clip.