jgharding

Cool, I'm gonna bust this out on the 550D now with the 2x...

You can shift the master black level up, to keep the lowest lows away from the noisiest codec area.

So just to clarify, this is a 2/3" sensor model?

Awesome news, do you have a link to nightly builds? I always get lost on their forums...   EDIT: I am dumb. Here's a link: http://nanomad.magiclantern.fm/nightly/

  It's addressing several issues with the GoPro 3 design, namely fixed lens and locked exposure, while maintaining the original benefits: tiny size, high resolution and wireless operation.   There is a section of the market that will be happy to pay a lot more to have such a tiny camera capturing high-speed footage on set with these extras. The section of the market isn't large enough right now for GoPro to address it directly, so this third-party adaptation bridges the gap. I'm sure it'll be quite popular on movie sets.

Novo Digital Camera have created a custom housing for GoPro 3 that lets you fit C-Mount lenses and even disable auto exposure using a custom CPU!   Pretty cool huh?   Apparently it's pretty complex (and thus we can assume expensive to make) so it won't be a product to buy, but they will be hiring them out.    Just goes to show how far you can go with a mod if you have the expertise...   More info here: http://www.viewfactor.net/blog/?p=331

The differenc between  4:2:2  and 4:2:0 is only red channel resolution. That affects green though. The sub-sampling type represents the ratio between Y (luminance) Cb (blue) and Cr (red) resolution, crudely put.   Here's a great example:  

Just need to shoot a diagonal red line against a white and/or black background and compare internal with HDMI. That'll tell you one way or the other.

I find digital relighting is the one thing Looks is good for. Try and use it to create your actual main colour grade and it tends to end up plastic and obviously very "Looks"! Its Spot Exposure, Gradient Exposure and vignette tools, and well as Auto Shoulder are particularly useful for reshaping light.   Lean towards subtlety though, or things get cartoony very quickly.   Or try out DaVinci for main grade then send to After Effects for finishing with other bits and bobs.

If you have a look at my (currently half finished) web page http://www.jgharding.com only one of the example shots on the front page used anything other than found light, either natural or on set already. What's said above about camera is true, with a modern camera, a bit of Neat Video etc, you can sometimes make a great look by herding the light that's already there with reflectors and moving talent and other such things.   That one light in one of the shots (which shot would you say it was?) was a 600LED panel, that you can buy from eBay. However, when I shot a band in a huge theater I used an Arrisun HMI, two 575W HMIs and two Kino Divas. Beautiful lights, though expensive, heavy and power hungry. You can see the money on screen though. Then last week I shot a talking head with one cheapo ebay LED and two LitePanels. It's all horses for courses.   If you want some cheap and versatile panels, just eBay search for 600 LED.   http://vimeo.com/48174944   I used two in this video, as well as some high powered flickery LEDs that were used to create the desync strobing effect.   N.B. General audiences think the strobing is cool, camera people always assume it's a mistake. What an anal bunch ;)

Great stuff, let's hope this can come to a more lens friendly camera too!

Red and blue noise below 400, red noise only at 400, and red blue and green noise above 400. What a puzzler!

A mirrorless one of these would be a hot prospect!!

In that sense you could treat the RX100 like 400ISO Super 16 film, leave the ISO fixed for the most part and light to the sensitivity   The sensor is about that size!

I have some cheap 600LED panels. I've run them alongside hired (really expensive) lite-panels and there's not much difference for most purposes. Both look alright on most cameras. Put them up in front of an Alexa and it shows them up as green/magenta spikey. Anything else I just hire per job to be honest, unless you want to get something you KNOW you'll use on every shoot, lighting requirements vary massively per job, so I personally don't blow cash on Kinos/HMIs etc, which can be hired cheaply if you live in a city. A couple of hundred for some LED panels is a great fallback though. You can also use them to light your house ;) Tungsten incandescent still looks nice on screen, but I've not used it for ages as I get sick of the sweating.  

I'd say 400 is native probably. The fact that it has so little blue-channel noise (the biggest problem with current Sony sensors in my experience) is great to know, cheers for this test!

My guess is they are extremely upset about the fact that Sony will outsell them 4:1 if not more, by providing a more balanced product in greater quantity at a lower price.   Sour grapes and bahavior similar to Apple and other tech companies, it's a real shame. Intellectual property is such a bore.   http://www.dslrnewsshooter.com/2013/01/28/matt-allard-goes-hands-on-with-the-new-sony-f55/   I doubt Red own wavelet compression, or other lossless techniques.

The optics like this are incredible simple, thus cheap. It may be possible to reduce the length (I don't know much about the inside of lenses really) but I'm sure it'd require more glass.<br /><br />If you have a handle on the bottom of the camera and a loupe on the back it can be very stable.

My apologies, all fixed, and here too: http://www.ebay.co.uk/itm/200893023189?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

This LCDVF is listed as working. I can't vouch for it fitting well, as I've not tried it. http://www.ebay.com/itm/LCDVF-4-3-Sony-SLT-A57-SLT-A77-SLT-A65-DSC-RX100-DSC-HX9V-VIEWFINDER-DSRL-LCD-/160939169476?pt=UK_Photography_DigitalCamAccess_RL&hash=item2578b8d6c4

If they do make a C50 my prediction is... an underwhelming and frustratingly crippled little brother to the C series ;) But what more could you take out from the C100? XLR inputs and related circuitry, SDI outs, the microphone. Quite a bit really, in order to make it smaller and bring it down in size. They already removed 720/50p and 60p from the C100 though, which is just obscene and cynical crippling given the FS700's 240fps before it gets too low quality! If they could make a 1080p 24/25fps AVCHD cameraand strip out that extra circuitry I bet it'd sell well.

Here's the Iscomorphot 8mm 1.5x I've listed.   http://www.ebay.co.uk/itm/200893023189?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649   I bought it thinking I'd get round to repairing, but I'm having a big clearout of equipment that's gone unused for over a certain period of time, so this must go too.   There's also some Zeiss lenses, lighting, audio gear for video, a guitar, all sorts!   The Isco focus is stuck and it seems to be fixed at a certain point. The front coating is patchy and the rear has a single little bubble on it.   I'll add some pictures here in a bit. Maybe someone can make use of it, I can't justify time testing and money repairing to be honest!   I have a bout a million questions about postage to answer so I'd best be off.

jgharding

No, I've used one for a couple of years!

Same here. It just gets hired for price, speed and relative quality. Many hired cameramen here own 5Ds, but we just stick a C300 in the budget for them as the result tends to please the clients and it's not too great a cost to get such pliable footage with a quick turnaround.   For my own stuff I will definitely hire a Blackmagic soon (if I can find one) and give it a spin. They're still pretty scarce though, which is a shame... I'm brushing up on DaVinci in the meantime, so I can get down to it when the time comes!