HurtinMinorKey

So higher bit depth allows you to create contrast(in post) in a low contrast scene right? If my A/D conversion does not have enough bit depth, then i won't be able to detect subtle differences in exposure, right? Higher bit depth means a more precise A/D conversion.

Do i understand this correctly? Or am I completely full of sh**?

I'm surprised I haven't seen any forum chatter about the Digital Bolex D16 cameras. It's more pricey than what I want at the moment, but I did hold a prototype at SXSW2013 and was VERY intrigued. Felt good in the hand, good weight, and I personally think 2k is plenty res. Also liked what appeared to be a more modular approach to the camera. 

 

Anyway, I just noticed that they're shipping to the original Kickstarter backers now and they're taking pre-orders for the next 500 after Dec 16th. http://www.digitalbolex.com

 

What do folks here think about them?

I wish them the best, but they are awfully late to the party. I'd love to try one though.

And I calculated a few years ago that if you took all CEO pay in excess of $150,000 (including bonuses and stock options) and redistributed it to every working American each of us would get a check for $300--hardly life changing.  

 

That's because all the real crooks are in finance! :lol:

Japan is a little different since many of the companies(including Canon) are family owned, which is another reason old execs stick around even longer).

No it was in dollars not yen, look - http://www.forbes.com/profile/fujio-mitarai/

 

EOSHD, I see the link, but it's got to be a mistake (99.98% certain).  There's no way that is his yearly compensation. I know his family owns the company, but that figure would put him at the very top of the CEO payscale.

But the actual numbers aside, i agree with you, it's time to let younger people take over.

One other point… Canon's CEO took home $272 million in 2011. He's 77 this year I believe.

To be fair, 272 million is probably in Yen, So approximately $2.7 Million. Traditionally, Japanese CEOs are not as overpaid as US CEOs.

I plan to get the BMCC next month also. Since Harrison's question seems to have been answered and my own is related, I'd like to know about doing the same on the following computer. Or is it under spec'ed? I do plan to order more RAM (via OWC) and to work off of an external SSD, whether I get a newer computer or not.

 

Hopefully no one minds. Thanks for any help.

 

 

The GTX 660M does not have enough vram to run resolve. You really need to get the 680MX in that version of the 2012 iMac.

thanks!

 

anyone knows about the BMCC?

Stays on while recording with the BMCC

The extra cores will help with encoding, but for editing in real time you need to focus on GPU performance and read speeds from your storage.

You really only need more cores (or dual processors) if you are going to do 3D animation or something like that.

Get the 6 core system, get at least a 4GB GPU, and make sure you have some sort of thunderbolt storage array.

It's disturbing that no Japanese company really wants to push technology that's readily available to the masses. How hard is it to put in a gig or two of fast ram for the camera to write to and them dump to a slower memory card? How hard is it to put audio meters on the display? How hard is it to record 4K at 24p? I'm tired of Sony, Canon, Panasonic and every Japanese brand that continues to pump out bullshit 8-bit 1080p mush. Step the f--k up and do something you bunch of conservative, profit-squeezing, planned obsolescent lame companies. 

This is the problem with oligopolies where the products are relatively undifferentiated. Either you collude, and agree to keep certain features at certain price points, or you all compete, which means dropping price to marginal cost and then making no money. 

So thank god for BlackMagic.

This forum is no different re censorship of threads/posts.

I've yet to see a thoughtful discussion about video censored on this site. Criticisms about the owner, off-topic stuff about other people's personalities outside of filmmaking, yah i've seen that cut. But nothing that was really on-topic gets killed.

If I owned the site, i'd like to think I'd keep everything, short of spam. But since I don't own a site, and that means there are things I don't know about said ownership, I'm willing to keep my criticisms about censorship to a minimum.

its really quit funny what some people are recommending here...  like buying a 50D and hacking it for RAW, you can not be serious.  I totally want huge files that are a pain in the ass in Post, shot on a camera that has no way of recording audio, its just not practical from a professional prospective, and yes I already have 2 5D3(why else would I have a huge collection of canon Glas) , which are crap for video (compared to the Fs700 at least) .

Weird, I've always thought the fs700 was the worst price/image deal ever. It can do super-slowmo, great,  but beyond that it image isn't noticeably better than the fs100.

I'm still confused about why you wan't a NEX? You want to spend money on something that will give you a worse image than systems you already have (5Ds), just because you have other glass sitting around? What am I missing?

props for using a song off Arcade Fire's best album.

I thought the footage looked quite nice too. I was pleasantly surprised.

You'll still be able to make adjustments to white balance, but you'll lose a bit of freedom. I suggest doing a rough color balance and exposure adjustment in Resolve (applying it to all similar clips using the appropriate button in the raw tab), and then exporting to ProRes. This way you get the best of both worlds.

Once an affordable Sony or Panasonic camera offers pro-res 4-2-2 and raw (without hacking),

So by the year 2020?

Yes, easily. But your editing experience will might be a bit choppy if you try and edit directly off your HD. You should consider faster external storage using Thunderbolt.

Honestly, i think you'll get the best results using ProRes 444.

@enny: This video compares the BMCC with 5D3 H.264 - not the Pocket with 5D3 RAW.

lulz, I told him that last time he posted that in another thread. I don't  think he's listening

. It was especially one Miii-BMCC-comparison (the Kendo-teacher with the moire-suit) that made me worry.

Unfortunately they were doing a 1080 crop not down-sampling to 1080 and it made the moire much worse. 

Check out this guys stuff: It's quite beautiful.

vimeo.com/kendyty

Almost all of it done with the Canon 550D.

Clearly he knows the real secret: good looking girls and moody lighting. :P

^Fucking awesome. It's the first time I've seen something like this. It's even greener than I thought it would be.

I've always questioned the 4:2:2 ratio. I know it's supposed to be based on empirical  measurements of human sensitivity, but it sounds way too general (and way too convenient) to be true.

I think as a general rule, all else equal the better the compression method is for delivery, the worse it will be for grading/editing.

I do not know if this rule applies to both fluid and friction heads.... my cinema teacher said that before using the video tripod we should do some circular movement with it (60/120/more seconds, it depends how cold it is). so doing those movements its mechanics becomes warm and it is more fluid. this is because external temperature may be cold and the mechanics needs to be warmed. did you have warmed a little bit them before the try? maybe the 501 seemed less fluid because of those reasons.

This is phenomena will be much more noticeable on friction heads because the friction will generate much more heat. This is one of the reasons you stay away from friction heads for serious video. You want to the resistance to be as consistent as possible.

As far as I know ( i do  not claim to be an expert), a fluid head uses the flow of viscous fluid to smoothly control the rate of panning. As you turn (or tilt) the head, fluid is forced through an opening. The wider the opening (which is often adjustable) the less resistance on the movement. 

With a friction head, resistance is determined by two washers (i think nylon usually) that can be compressed tighter together to create more (or less) resistance.  The use of solid friction makes the resistance much less smooth than a fluid head. This is why most serious video tripods use fluid heads. Friction heads are more commonly used in photography.   

Personally I think if you are serious about video, you should't skimp on the tripod. It's something that is extremely important for quality camera movements, and even more important, they last a lot longer than a camera body. 

I have a Sachtler Ace M, which has a fluid head. It's by far the best tripod I've owned.

Don't get overexcited... It can't be any better than anything in the EOS Cinema line-up anyway.

True, but my guess is the Cinema line will be updated around the same time too. Here's to hoping!

Doesn't the new version of Resolve cost $1000? Is it worth that (assuming you already have 9)?

Nikon has used sensors form Toshiba and Aptina, so I doubt Sony would really be able to dictate to them what they can and can't do.

 

Then the only other answers we have left is that Nikon is insane. It makes no sense otherwise. They can't be that daft. 

EOSHD, yes the GH3 has a Sony sensor... which isn't in the same universe as the sensors going into the high end Nikons. Plus, it's not like the gh3 has raw output either. It's got a decent codec, but nothing that's good enough to be perceived as a threat to Sony's high end cinema Cameras.