cpc

http://blog.abelcine.com/wp-content/uploads/2012/11/AbelRaw-Workshop.zip

The Odyssey records in Canon's .rmf raw format.

Add a stop for each additional bit. Also, Canon raw has a high black level, as well as some (tinted) headroom above the nominal white level. Truncated Canon 12-bit linear would actually be around 11.5 bits.

Not enough usable dynamic range. Around 6-7 stops.

I don't see anything mentioned about this in the linked thread.

Link?

I find Resolve excellent for online editing of raw footage (CinemaDNG). Infinitely smoother than Premiere.

Don't get too excited just yet, cause 10-bit linear raw isn't a pretty sight.

You actually CAN receive paypal in Egypt. For almost two years now: https://www.paypal.com/ga/webapps/mpp/ua/recpymt-full You may need an US account/card though.

Sound like you aren't using Magic Lantern? If this is indeed the case you aren't using your Canon camera in all its glory.

If the Ikonoskop is an indication, it will eventually go WAY down. As all digital equipment does. Digital doesn't age well for obvious reasons.

Thx, not much going on there lately though. Buried in work. </offtopic>

This may have more to do with Blackmagic than Adobe.

Resolve is way faster than Premiere in pretty much everything except decoding/encoding of some formats (h.264 for example). It is entirely GPU accelerated on the processing side and you can go real-time on fairly modest systems.

Drag and drop into the media pool works fine in Resolve?

5dm3 raw storage is in the ballpark of ProRes. Now the size of an Alexa 65 raw frame... this is something else.

Exactly. Even after whites compression there is still plenty of tonal info in there (more values per stop than in Cineon film scans, for example).

If you are on Mac you can export ProRes from their ssd offload app (called cinelight). Probably a better idea to do this yourself in Resolve though. One thing to keep in mind is x5r 1080p raw drops to 10-bit linear raw at high fps (definitely for 60fps, not sure about 48fps). It's a noticeable drop of quality compared to the 12-bit 1080p raw at lower fps.

Andrew, c500 raw isn't clipped, clipping would kill a few of the darkest stops. It's C-log encoded into 10 bits, similar to how Arriraw is LogC encoded into 12 bits. This preserve all the tonal resolution in the darks but compresses the extreme linear tonal resolution in the whites. A neat way to save a bit of space without any noticeable loss of quality.

Rental cost (and target audience) will probably be similar to Alexa 65, so unlikely to challenge regular Alexa/Mini/Amira status as the industry darlings.

The Odyssey 7q/7q+ update for FS5 raw hasn't been released yet; coming (very) soon apparently.

False color probably targets the built-in display, but the new gammas should be handy for monitors and EVFs. The Bolex Log in particular should play well with monitors with LUT support. I don't know if it is possible with this camera but simultaneously having false color on the built-in and one of the gammas on the hdmi out sounds cool.

Funny that you say that. I think this camera only makes sense with an EVF, so these new monitoring related additions should make perfect sense.

Looks like a great update. The introduction of Bolex Gamut and Bolex Log should make it easier for the Bolex to be considered a serious tool.

I think the counter to the trend of endless repackaging of other peoples' content, reviews, tutorials, whatever (NFS style) is producing well thought out and researched stuff which doesn't address specific cameras, rather discusses concepts. It certainly takes way more time, but the result is arguably more valuable. Back when I was occasionally posting stuff on my own site it would take around up to 2 weeks for an article (text + illustrations). Now obviously this isn't viable in a commercial setting, but it does attract a certain kind of audience. And I'd argue it's the better kind.