Chrad

This set up is pretty brilliant and inspiring. Thanks for sharing.

I think it looks best with the Lumix lenses.

www.vimeo.com/66955436   Some footage with SLR Magic lenses, and a little with the Panasonic 14-42. As before, looks pretty damn great for $1000.   Brawley said he shot the low light stuff at 800 and wishes he'd shot at 1600, so it's a little noisier than it should be. http://johnbrawley.wordpress.com/2013/05/26/shooting-from-the-hip-pocket/

You're right about TV. But still, when there aren't any 1080p broadcasts yet, why do people think quad HD is only a few years away? And yes, of course there have been true 4K cinema presentations. I'be been to a few. However, they account for a tiny portion of cinema releases right now.

It's cleaner in low light than the GH2. You can see that in the video at the start of the thread.

Well, yes and no. Most TV stuff is C300, most cinema stuff us Alexa. But for sure, all the big cameras going forward are/will be 4K.

Wait, what?

I know for a fact that plenty of the 3D theatres in my area (inner Sydney) use 2K projectors. 4K projectors are still in the minority. The situation may be different in the US thanks to the deal AMC made with Sony, but worldwide a lot of cinemas have yet to upgrade.

This is not true, and even if it were, almost none of the content being screened is 4K. Even Skyfall, which Sony used to push 4K projection, was sourced from a 2K master. And 1080p TVs are hugely more widespread, but that doesn't change the fact that all TV broadcasts are 720p.

4k TVs everywhere and broadcasters reacting accordingly? Broadcasts aren't even in 1080p yet.

PAL GH3 has 24, 25, 50, and an option to shoot 60p in a 24p wrapper, slowed down in camera. Which is fine by me, since slow mo is the only use I make of 60p. If I want footage that I can choose whether I want at regular speed or slowed down, I shoot 50p. Much more flexible, and not too hard to convert to 24p timelines either.

What 16 mm and 8mm glass are you going to use with an EF mount?

If this takes off, it could be the saviour of DSLR video. People seemed ready to write it off the 'hybrid' movement as over and done with after NAB. I was convinced that Canon, Panasonic, Sony etc would simply ignore products like the BMC pocket. But if this hack takes off, I think they'll be forced to react. It's now readily apparent that any high end DSLR has this ability through its live-view feed, and it's clear that the market is demanding it. Fast enough storage media is now readily available. I think you'll see raw output on the next Panasonic GH, probably the next FF Canon and maybe Nikons. They won't let the DSLR video market go quietly into the night. Or maybe I'm being too optimistic.

Thirding RX100. It's my take-everywhere camera. Still quality is amazing. Video is very good. A bit soft and very noisy above Iso 400, but it's a compact. You take what you can get.

Sounds like it was screened from the Blu-Ray at your cinema. Depending on the quality of the projector used, that could account for the softness of the image. I worked in a cinema where the Blu-Ray screenings were done with a lower quality projector, and I could always tell.

I don't think Canon are oblivious, I just think they don't want to hurt sales of the 'pro' video cameras they sell at much larger profit margins.

I don't think Canon are oblivious, I just think they don't want to hurt sales of the 'pro' video cameras they sell at much larger profit margins.

So they priced an 8 bit camera out of the budget range of most ghetto-budget filmmakers (like us) and didn't include raw in its feature set, but then gave raw away in an 'affordable' $3.5K model? Got it. The thing people need to bare in mind is how expensive raw is if you want to shoot with it for a serious project. Anyone who opts for a 600D over a Mk III probably can't afford to shoot raw.

Why do so many people think a company that charges over $5000 for a firmware upgrade to shoot at 4K would intentionally give away raw video in a $3.5K camera?

The 5D Mk III isn't an APS-C sensor. And the issue isn't that the footage is 'unusable', it's that it's of comparable quality but the price barely drops over years and years.

The interesting thing is that just about all stills cameras have this feature locked up. Nikon has it, Panasonic has it, Sony has it. Will anyone be able to unlock the 'raw' stream from those cameras?

What sensor size is effectively being used in 16:9 crop mode?

To be honest, I actually like the look of the BMCC footage more. Yes, it's weaker in low light and less clean, but it has an intangible 'cinematic' quality to me. It's just very pleasing, particularly the colours, and the widest DR out there for prosumer video helps too. I don't think this necessarily needs to hurt BMD either. Their 4K model with no rolling shutter could see a sales boost after this. Let's not forget that if you don't own any raw shooting camera, you could buy three pocket cameras for the same price as a Mk III. Also, Vitality Kiselev needs to step his game up, heh.

A super 35mm raw camera for under $600? Where do I sign up? Could be great once they get their new APS-C sensor out there. Panny need to sacrifice their pro division (as if it was making them money, heh) and put this stuff in as an official feature in GH5 (or GH3 via new firmware) or else it's over for M43 for filmmaking.

No.