ScreensPro

Why can't you have some empathy and stop forcing your world view on other people.

Fine, I will stop.

Dictatorship is a very unique way to run a forum, but I hope it works out for you.

Please delete my account, you stupid little cunt.

Also its too expensive.

Seriously?

4K, S35, 12 stops, simultaneously to two formats (inc RAW), interchangable sensors, 10" monitor, Pro I/Os etc etc

How can that be considered too expensive at $6K!!!!!??

Twilight zone

I don't see the "unprecedented dynamic range" here. It's just me? 

>

 

In a perfect world? How about in the REAL world. We are talking basic functionality. Stuff that can kill you on a shoot and end up losing you your job. If you have a mega expensive unrepeatable shot ready to roll and the camera just cuts in the middle because the card is full without warning, I'd love for you to come back on the EOSHD forum and sing the praises of your £650 cinema camera.

I really don't remember huge warnings about missing shots in your glowing review, last year.

If someone is dumb enough to shoot an important shot without having a rough idea of what is left on the card, more fool them. I wouldn't blindly follow what a screen told me any, even on a GH4 or something. Like I said earlier, work out your GB per minute and keep a mental note, or add it to your field notes.... a PITA, sure... But has never once hindered me in any big way.

If a shot were so important that it would cost me a client (I'm self employed, my job is pretty safe!), I would have a fresh SD card for that shot anyway.

As someone predominately shooting aerial footage, I guess I am used to working things out in my head rather than on screen.... sometimes I cannot see battery warnings, so need to keep a mental track of flight time... Maybe that helps me work out the BMPCC too, but I don't think it should be make or break for anyone.

Anyway, last night, BM said they are beta testing a new firmware... So hopefully it is fixed and they can then be seen as not turning their back on the indie market.

Unless you absolutely need 4K, I don't see a huge rush to get either of these cameras.

If you like to have a bit of re-framing room, just get a BMCC... Still the best bang for buck on the market, by some distance.

I will never get the argument that FF is harder to focus.... Just stop down. Sure, you will need to push up the ISO, but you would on the 4/3 anyway, as the sensor doesn't gather as much light.

With FF, you can easily match any DOF/Focal length of a m34 sensor. The opposite is not so easy.

The only plus point for smaller sensors is getting a longer zoom, but then FF can go alot wider

I don't really see the big concern about the lack of internal 4K on the Sony.

Surely if you have something worth shooting in 4K, you will want to use an external recorder with the Gh4 too? And you will certainly need a large monitor to focus, so having a monitor/recorder bolted on will make little difference.

I guess an argument can be made for recording 4K internally and then using it to create 1080p final output. But then you have to weigh up the convenience of that with what is likely to be a pretty big difference in low light and DR.

Sacrfices, sacrifices. I think I will stick with the BMPCC and Canon 5D-RAW and see how all this pans out.

"I think what he is saying is Panasonic actually finishes their low end products before pushing out newer high end products."

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I always thought this place was for the artist? The guy who will jump through hoops to get a beautiful image? The guy who will use a $200 Nikon to get a taste for 4K/Raw/60p?

Now, all of a sudden, a couple of firmware glitches (that I also want fixed, but don't live or die by) coupled with the news of them pushing on with a new camera and they are "turning their back on the indie community"?

In a perfect world, my £650 cinema camera would show me how much SD card I have left, but I just work out my GB per minute and guesstimate, erring on the cautious.

As long as BM keeping giving me huge bangs for bucks, they'll keep getting my bucks... A bit of firmware angst and some new cameras wont change that. They are still firmly the great shining light of the indie community.

"However the URSA is aimed at a large crew, large scale productions and in doing so completely turns its back on Blackmagic’s existing indie filmmaking user base."

Wow, you really do come out with some absolute rubbish. You do realise the makers of your current flavour of the month, the GH4, also produce high end products?

I just fired up my BMPCC, guess what, it still works. It still shoots 13 stops of DR, it is still a beautiful 1080p image, it will still be capable of making an amazing indie film and it costs £650. Yea, the firmware could be a bit fancier.... The day is still young.

If they completely fix the firmware, next month, will they still have turned their back on you?

My guess..... You are a little angry that they have dared to make something that doesn't interest you.

Here's another one for you to think about, gotta love 1st day of NAB!

http://www.aja.com/en/products/cion

Considering the size of it, you would think it could handle 4K/60p

Amazing for the price though. Not my cup of tea, but can see crew based productions taking this a bit more seriously than the other offerings.

I love my BMPCC and have alot of time for the company, but they really do need to get their firmware in order if they want to be taken seriously.

Anyone who has graded C300 footage will know that 8bit 4:2:2 isn't quite the hindrance that it is made out to be, when done well.

It is a shame though, 10bit is pretty much perfect for almost every production.

I've heard that it will be 4K/60p with better ergonomics. Priced at $6k.

If the DR can be captured nicely in the 8bit/4:2:2, then it's not a big problem. This first video looks like it is capturing some really nice highlights.

Banding would be my biggest concern.

But yea, DR trumps everything, imho. GH4 still looks a bit lightweight (11 stops or so?), to me, but time will tell.

Do you know how much a FS700 costs ? do you know how much it costs with a cheap 4k recorder ?

Pricing and pushing boundaries is all relative. There was no 240fps (other than 320x240) on any camera under RED Epic, as far as I remember.

It was ground breaking and they could easily have held it back for another price point.

As for your second comment, you are actually backing up my point.... It should have been about $20k to get a 4K signal out of FS700 with Sony's gear, but they didn;t hold back, they enabled the stream to be recorded on a cheap (again, relativly) recorder by Convergent

Did they "hold back" with 240p in the FS700?

Did they "hold back" with amazing 1080p in the FS100?

Did they "hold back" allowing the 4K RAW of the FS700 being allowed onto a much cheaper recording option than their own?

Sony are a pretty progressive company, in my eyes.

People need to learn that datarate usually gets limited, not because of greed or crippling, but because it's a consumer product that needs to have mass appeal and not cause constant customer service complaints about the camera not working with a cheap SD card from Best Buy.

The fact they are launching it at NAB suggests we might be in for some pro options though, even if it is via the hdmi slot.

Not worth it to you, JHines...

I know a few people who have made good money from the C300 and paid it off in months.... I also know a few people who are still paying off their kitted out scarlet that they were laughing wildly about the day it was launched next to the C300.

I was just arguing that deep DOF is not the culprit when making something "Video like".

A deep DOF shot of.. let's say a spooky house... with 15 stops DR on a crane as an opening shots will look 1000x more cinematic than an opening shot of the same house, but with ultra shallow DOF focusing from the wall to the house, with no interesting movement and with terrible, burnt highlights and no shadows.

that's my only point.... Not comparing cameras really... Just technique. It just irks me when someone says deep DOF is "video like".... Under the right circumstance, nothing could be further from the truth.

Light of Yucatan was also shot with deep depth of field, which resembles video. 

Go watch a few Kubrick films.... Deep depth of field does not look like video.

Lack of DR and cinematic camera movement makes it look like video.

The jury is still out for me on the GH4 until I see how much DR it gives.... For now, 5DIII and BMPCC are staying in my kit bag

DR is king!

re: stills from video

Not all of us need to chase that elusive film look.... We can set our shutter speed higher than 1/48th, in fact, it is essential for certain work. As mentioned, i'm interested because it could be ideal for copter work, which we generally shoot at a faster shutter speed for post stablisation anyway.

similarly... ENG shooters who might pull stills for a newspaper while recording video for the media section of that newspaper will not have to go with a 180deg shutter.

180deg is just a creative choice anyway. See saving private ryan... does that look filmic to you?

Don't get your hopes up, i'd expect it to be priced the 1D-C. 

that's a hoop i'd jump through for copter work... Price isn't the make or break factor, weight is.

14 stops in a mirrorless, potential very light package would be worth every penny, for some.

I would certainly like to pull frame grabs from my octocopter footage, that would be a dream. The GH4 is looking like my next purchase for aerial work, but if Sony can give us their 14 stops of DR in 4K, then my mind would be made up.

If they are capturing the full 14 stops of the Sony sensor, then i'll jump through whatever hopes they deem necessary to separate it form the F5/F55

If the DR drops dependent on resolution, I assume it is some kind of HDRx that needs the frame rates that lower resolution can provide?