jgharding

Here's some footage.   it's all person in frame natural light. A ballet dancer who may be in a film of mine soon... Everything from 35-120 is great even wide open. Like most old lenses, wide open character is soft and nice, come down a stop or two and its more modern. It doesn't behave parfocally, and everything wider 35mm is soft closer than 3 or four meters and very much so wide open. Close focus is basically fuzzy wider than 35 or so. I've not yet tried with a short extension tube at the back. I'm not sure if its an element alignment issue or the sheer amount of coma, spherical aberration and so on. There are a lot impurities, which give a lovely look, but at the wide end it's a bit extreme.   You can see an example of this toward the end. The zoom markings are slightly out of place too so it's definitely been repaired. So I could get someone to have a look, or just use it as a 35 to 120 where its fine and save the money. The flares are a very soft purple haze, natural and not at all distracting. It vignettes a lot on the 550d sensor, but it's not unpleasant. Video link:   PW: frenchglass   https://vimeo.com/64009621

I twice cut a Pentax K lens's aperture tab to use it on EOS, so it's doable. I've not got them any more though. Didn't affect resale value, cos everyone uses them on Canons!   Back to original post, I'd say what you've got now is great if you learn to get the best from it. none on your list are a huge upgrade or that much closer to the old school look you want.   I shot a short 2 years ago before magic lantern and mosaic filter for 550D, and it's still getting festival plays, another one in three weeks in Germany in fact! But the 60D really isn't an upgrade.   Try and borrow these cameras (GH2 5D) from someone, or meetup with a fellow forum user before dropping cash maybe? you may love or hate them... a lot of this is personal taste with image quality. stats alone don't speak...

For a quick visual comparison, this is great, and goes some way to making good sense of fields of view.   http://www.abelcine.com/fov/   Note that the 5D is 0.7x crop factor from your average super 35, while the 7D, is 1.1x (not 1.6) and the Arri Alexa is lited as 1x even though it's a little smaller.   Comparing the C300 to the F55 is interesting... while Red Epic is rather larger than Red One

Also the whole "crop factor 1.7" thing is essentially meaningless here, because we're talking motion-picture film, where photographic full-frame (or 135 film) is not a standard. BMD 4K is a crop of 1.7 compared to either a 5D MKii/iii or still 135 film, not the motion picture film people are using today to shoot movies we watch and make, and most of the academy nominees, and most of what has already been shot.   I wish we could agree a standard of comparing crop factors to actual film people use to make movies instead of still 135 still photo film and the 5D MKii, which is kind of meaningless since the former is never used as far as I can find (if it is, it's certainly not a standard) and the latter is a special case. Otherwise a whole generation will learn with a pointless confusing set of 'crop factors' that don't apply to real-world shooting and haven't for decades.   So I'm shit at maths on the whole, but can someone please work out how far cropped-down or up from Super 35 film or an Alexa and so on these two new cameras are (and the GH2, and start sharing that around, rather than us all using a meaningless comparison with still photography? Pretty please?   If anyone wants to take up the the task, here are some film sizes of film actually used to film films. I don't mean this to sound aggressive at all, it just causes so much confusion, and we could easily clear it up. Booyah and peace.   http://upload.wikimedia.org/wikipedia/commons/2/2c/35mm_film_common_formats.svg

  I never had anyone complain about the softness of the 550D (i have the filter to kill the aliasing, which people did notice), but someone did moan about the RX100 footage looking "too cheap", by which they meant video like, or like a camcorder.   Stats and specs are one thing, but what really matters is how the image makes your audience feel! sometimes sharp is the right choice, sometimes not.    That's why pre-ordering is such a gamble. It could be great on paper but a practical nightmare! Just have to wait and see...

Excellent positioning of the autocue there... bottom right of the frame...   It would be absolutely brilliant if it were a Tim & Eric style parody, from the backdrop and flowers to the little chord at the end!    But alas, it's serious.   What a catchy name the lens has too!    I owned two Sigmas, sold both for sucking.

  Is that fellow actually a robot? He reminds me of Data from Star Trek.

Also, comparing RAW with AVCHD for example, you'll actually be able to use and manipulate those lower stops without them turning into goo,    The colour grade I did here: http://www.eoshd.com/comments/topic/1165-bmdcc-raw-footage-available-to-download/   For example, would not be possible if that original had been AVCHD, so it's best to put such specifications in a practical context.   You lose a stop, so be more careful with your lighting and protect the lows in RAW or the highs in ProRes.

The perfect example of excessive sharpness for me is The Hobbit.   Watching that on BluRay after a while you feel like your eyes have been sanded!   It certainly doesn't have the feel of the original Kodak-shot trilogy, and it's most noticable, as you say, with portraits, where the edges of the hair become distracting from the actual scene!   It's brittle compared to the rounded organic detail of celluloid, with its uneven grain structure.   If all sensors were foveon -style stacked, it'd be a start. No debayering would be nice...

Yes indeed on the extra costs, I'm actually hoping they'll delay a bit so I can get more time to line up projects to pay back for it!   My PC is maxed at 3.2ghz i7 overclock, 24GB or RAM and Geforce GTX580  3GB. if I need any more it's new motherboard and CPU time... I've butchered the case and fans in so many ways to keep it upgrading. I don't think I'd buy a mac unless I had fortunes.

    I suppose since it's not rolling there's no need to "line skip", so it could be either scaling a capture from all of the pixels in realtime with a scaling algorithm, or skipping in a mosaic pattern of some kind, though you'd think that'd mean artifacts.   They've said it's a little less sharp than the 2.5K version, I'm not sad about that, excessive sharpness is too video and kinda over-rated i think. I'd rather a slightly softer image that has a great motion feel and colour rendition.   That's why Alexa look is so popular still compared to Epic i think, despite all the resolution obsession in the latter and the hire price being the same, Alexa just has a unique feel, like a special type of film.

There's loads of Iscorama scams now. That's because the price has inflated to a silly degree recently, and scammers are cashing in. There's the Isco 42 and projection set, and there's a 36 buy it now for $3333 which appears with the same serial on many listings at once.

Indeed, it needs a fair bit of power! My PC is maxed at 24GB of RAM, 3.2GHz overclocked i7, sold the old Quadro and got a Geforce 580GTX 3GB (worked out as £20 upgrade once I'd sold the former). Even like that 4K would be a struggle, so I think I'll use the 1080p ProRes at first!

It is purely for blocked out and planned work really. That was the reason behind it, I wanted to use something with a slower aperture that necessitates both planning and lighting, rather than always running about with tiny fast primes.   In order to become more accomplished I think it's best to break out of boxes you build for yourself as well as ones that others create. I was very much a run and gunner with available light up to now. Time to do the opposite and learn something new!

  I read battery life is 1 hour for BMDPCC on one site. Quite low, but the batteries are generic Nikon so just buy a bag full and number them.

BMD aren't a new company, they've been going a long long time, they're just new to cameras. They have close ties with Apple, hence the unibody look of their cameras I reckon, similar if not the same manufacturers.   I think they'll have learned a lot from the experience of using a sensor manufacturer who can't handle capacity at aqcceptable quality levels. Also about collimation tolerances (the Tokina issue). CMOSIS (if indeed they have provided this one) can likely be trusted with this. Even I expect a slight delay, but probably not as much as the last one.

Brilliant stuff! I loved the FS700 slowmo, but the codec really was the weak point. You had to push the black right up in the colour profiles to keep it away from codec destruction! This is brilliant news.   It seems this year there have been a number of great advances.

  Haha yes I'm also impatient to use it! But I'll need to set it up with the rig bars and mount and won't get a chance til Saturday at the earliest, every day and evening this week is full I'm afraid...

The Lomo I have is a Foton, minus the anamorphic. It's much cheaper that way! Plus most of those foton anamorphic seem to be so fuzzy and distorted they look like special effects! I suppose you just need luck to get a good one.   Unfortunately, the seller asked if I wanted the OCT19 or a PL mount as a replacement. I asked to keep the OCT19 but it's arrived with PL of some kind. It seems to be easily replacable and a simple mistake, but I'll need to wait until I get the replacement through to use it on my own kit, which is a shame...    This video below sold it to me though. It looks lke a 70s british grit film, like Ken Loach or something. 16mm prettiness from a 550D!   https://vimeo.com/60629595

LOL     @Pkent: It's the older Angenieux 20-120 T3. It's a wonderful look from what I've seen so far, very 70s (this lens is from 1972). I've not had a chance to shoot much, I still need to properly rig it.   And rig it you must! Heavy does not even come close to describing it :o 4.5KG!   My word. You just never assume anything can be so dense, it feels like part of a f***ing tank! Or a piece of dark matter.   So yeah, not for run and gun! But can't wait to let it loose on the BMD 4K on the next big film.

  Yes you've got it, I mixed up the tech there. It's removing noise and clock jitter from sampling rate timing rather than the actual signal.

I suppose a lot hangs on timing as well as those in the future statements. D16 will ship with RAW for those who want it. The BMDPCC won't ship with it, and we don't know when it's going to ship!

  HAHAHA!  :lol:   And then the sequels:   Kitchen Table Focus Pull 4K   and   Unimpressed Girlfriend Posing When All She Wanted To Do Was Have A Nice Time Together And Instead You Play With Your Cameras 4K

From my years in audio, PLL is phase locked loop, and in short, it's a way of removing noise (as in junk data) from conversion stages (analogue to digital, like light to digits or electrical signals produced by audio into digits). I assume its the same here...

Believe it or not, the lack of compressed RAW on the original BMD was one of the things that stopped me ordering it! The files are monstrous.   Granted, these will still be huge files at 4K, but if we can switch to 1080p mode this solves all the issues I had with first camera: sensor size (rethinking all my lenses would be a chore) and RAW compression. I take 4K to be a bonus!