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I'd ask why Panasonic, Sony and Nikon haven't even made a 4K DSLR, rather than bashing Canon for making it happen, but out pricing you.
 
At least Canon have one on the market. If resolution is that important to your film making, shouldn't they be applauded for getting the ball rolling? It is still the cheapest (by some way) 4K solution on the market.
 
As this article mentions Shane, you realise his film, "act of valor", shot on the 5DII, grossed millions and was well accepted by the film goers and critics? No one was sat moaning about it not being 4K.... They were just engrossed by the film.
 
It seems to me that feature lust and pricing might be being used as an excuse by people to not just go out and shoot a project.

I'd ask why Panasonic, Sony and Nikon haven't even made a 4K DSLR, rather than bashing Canon for making it happen, but out pricing you.
 
At least Canon have one on the market. If resolution is that important to your film making, shouldn't they be applauded for getting the ball rolling? It is still the cheapest (by some way) 4K solution on the market.
 
As this article mentions Shane, you realise his film, "act of valor", shot on the 5DII, grossed millions and was well accepted by the film goers and critics? No one was sat moaning about it not being 4K.... They were just engrossed by the film.
 
It seems to me that feature lust and pricing might be being used as an excuse by people to not just go out and shoot a project.

http://web.canon.jp/imaging/eosd/firm-e/eosdigital7/firmware.html and others...
 
You shall not assign, sublicense, sell, rent, lease, loan, convey or otherwise transfer to any third party, or copy, duplicate, translate or convert to another programming language the Software, except as expressly provided herein. You shall not alter, modify, disassemble, decompile or otherwise reverse engineer the Software and you also shall not have any third party to do so. You shall not modify, remove or delete a copyright notice of Canon contained in the Software.

Except as expressly provided herein, no license or right, express or implied, is hereby conveyed or granted by Canon to you for any intellectual property of Canon.

2. OWNERSHIP AND COPYRIGHT:

The Software is copyrighted and owned by Canon. You agree and acknowledge that Canon transfers neither ownership interest nor intellectual property in the Software to you under this Agreement or otherwise, and that Canon retains all right, title and interest to the Software.
 
 

I'm not voting against anything, I'm speaking my mind, which is a problem around here every time the opinions differ from your own.
 
Having an online community that promotes hacking cameras to "steal" features from higher end cameras without paying for them is what will hurt our community's interests and credibility. As was mentioned by many different people before, that's a common practice with so many different pieces of hardware, but you're biased against Canon as usual and you won't listen.
 
I never said I think the price is right, I've mentioned several times before they should lower the prices on all their C series of cameras to at least half if they want to be taken seriously by the indie community, but that's a different story, and maybe it does show they don't care much about the indie community, and we should just move on, but these rants about missing features are pointless.

D800 is littered with moire and aliasing.... Surely that negates any plus points (and yes, for nature and shots you can avoid the aliasing/moire, it has a beautiful image).
 
Canon get alot of stick... but Nikon are the real no-show in this... They could completely dominate

D800 is littered with moire and aliasing.... Surely that negates any plus points (and yes, for nature and shots you can avoid the aliasing/moire, it has a beautiful image).
 
Canon get alot of stick... but Nikon are the real no-show in this... They could completely dominate

I feel a bit sorry for Canon.... The 5DIII got a bashing from alot of people.....
 
But the most vocal comments about the 5DII were as follows:
 
Fix the moire - done
Fix the aliasing - done
Fix the jello - better
Better codec - done
Headphone out - done
 
Very few people were crying about the resolution when the 5DII launched and was being used in top productions.... Yet that one flaw is now magnified out of all proportions... Partly due to the craze for 4K and new formats like 2.7k and 2.5k... even though the vast majority of shooters will not need it yet and the vast, vast, vast majority of clients and viewers will be very happy (unless they sit 1ft from the screens).
 
The 5DIII is a great camera, a huge upgrade from the 5DII in terms of stills... and ticks alot of boxes for video.
 
As for the HDMI output.... It should make a bit of difference when you grade. You should see improvements in banding too.

I'm not sure that 4K or 48p are the problem here.... Film has often resolved that sort of resolution and 48p, other than less motion blur, shouldn't affect the set/make up too much.
 
I think the bigger problem is that 3D tends to rely on a deeper DOF, so more of the set/actors are in focus for prolonged periods of time.

I'm not sure that 4K or 48p are the problem here.... Film has often resolved that sort of resolution and 48p, other than less motion blur, shouldn't affect the set/make up too much.
 
I think the bigger problem is that 3D tends to rely on a deeper DOF, so more of the set/actors are in focus for prolonged periods of time.

You think the RED1-M was a better sensor than the F35?
 
Sony and Arri have been ahead of RED on sensor tech... RED just used resolution as the ultimate goal, whereas ARRI and Sony concentrated on DR, colour, skin tones....
 
Please note, i'm not discussing prices, fps, raw etc.... Just the sensor tech and Jim Jannard's claim that RED are the most invested.

i like RED products, but....
 
"RED is more invested in sensor development than ARRI or Sony"?
 
Really, care to share the proof, as ARRI are kicking their ass with current sensors. Sony's F55 has 14 stops with a global shutter....

+1 for a GH2.... It's a sweet camera, if you can't make something great with that, you can't make something great, full stop. For the money paid, it still surprises me every time I check out my footage.

No, I'm suggesting that his budgets allow him to work around big problems that we in many cases cant. Need to shoot in a car or a small office on a 2.7x crop? No problem for Mr. Aronofsky, knock down a wall, build a set, use a complicated rig or a rare and expensive lens. We usually don't have these options and have to rely on DOF and full frame to make the best of tight situations. As lousy as the 5D codec is, there's no way the BMCC would replace it for me. l enjoy the 35mm Zeiss + 5D look for subjects and raw isn't needed for most clients. My cinematographer can make up for dynamic range. So for now, I don't find it to be superior, and especially with the shipping issues, I'll wait.

I am used to it.... I have one on order! But you seem to be mistaken about what fanboyism is.... Fanboyism is generally a failure to see the cons of your prefered product and the benefits of other products. I think only one person on this entire article is displaying such traits. I have no allegience to Sony and haven't owned a Sony product since the EX-1.
 
I have a fair chunk of change saved up though and i will probably be looking to move to an Epic or F55 for the 4K and overcrank features that my work sometimes requires. That doesn't make the BMCC (that I will own) any less of a camera and i'm sure I will get lots of use out of it and make lots of cash out of it. But there is no shame in wanting (or needing) more features. If BM come out with a F55/Epic killer, I will rejoice. If not, I will look what is on the market and buy what ticks the most boxes for the best price.
 
Also, what do you mean you'd just pan slowly and speed up in post..... what if there are people in the shot? what if there are cars in the shot? would the viewer accept the reality of a cat running past at 300mph? :lol: I'd love to see you DPing a film like transformers.

Here is a rolling shutter test from a RED Scarlet, which should have a pretty fast readout, probably faster than the BMCC.
 
[url="https://vimeo.com/37522370"]https://vimeo.com/37522370[/url]
 
Do you seriously not see a problem with that? Now, you can say, well I don't pan like that..... Great, as I said right from the start, the BMCC is great for certain 24p narrative work. That's why i've ordered on.... Most of my shots are locked off or with very controlled movement.
 
But if you are shooting an action sequence, a train passing by, busy traffic, POV shots from a car... etc, etc, etc .... You will notice the difference with the F55.

You're beyond even speaking to.
 
No one notices jello..... :lol:
 
"There is not a rational argument to choose anything other than a BMC."
 
There is no rational reason to carry on this conversation. You clearly know very, very little about real world shooting.

"The truth is the Alexa / F55 / BMC footage all looks the same and your not going to notice any difference when you grade it."
 
So, 1-1.5 stops of extra DR are unnoticable?
So, skin tone rendition is unnoticable?
So, the unique qualities of an S35 sensor* are unnoticable?
So, 16 bit is unnoticable?
So, zero jello is unnoticable?
 
* Please don't come to me with the line that with the right lens combos, you can get the same look. Go find me an equivilent lens to this:
[url="http://www.arri.com/camera/lenses/35_format_lenses/ultra_prime_8r.html"]http://www.arri.com/camera/lenses/35_format_lenses/ultra_prime_8r.html[/url]
You would need a 3mm-4mm T1.5 lens that matches the quality of an Arri Ultra prime. Their 16mm lenses go to 6mm, but would vignette on BMCC.
 
I think everyone on these boards are supporting BMCC, but blind fanboyism will do them no favours.

"The truth is the Alexa / F55 / BMC footage all looks the same and your not going to notice any difference when you grade it."
 
So, 1-1.5 stops of extra DR are unnoticable?
So, skin tone rendition is unnoticable?
So, the unique qualities of an S35 sensor* are unnoticable?
So, 16 bit is unnoticable?
So, zero jello is unnoticable?
 
* Please don't come to me with the line that with the right lens combos, you can get the same look. Go find me an equivilent lens to this:
[url="http://www.arri.com/camera/lenses/35_format_lenses/ultra_prime_8r.html"]http://www.arri.com/camera/lenses/35_format_lenses/ultra_prime_8r.html[/url]
You would need a 3mm-4mm T1.5 lens that matches the quality of an Arri Ultra prime. Their 16mm lenses go to 6mm, but would vignette on BMCC.
 
I think everyone on these boards are supporting BMCC, but blind fanboyism will do them no favours.

I love Aaton for using the "like a cat on the shoulder" as part of their marketing:

http://www.aaton.com/products/film/

:lol: only in europe

I don't spend a lot of time 'pixel-peeping' and 'measure-bating' from one camera make to another. I've made piles of money shooting Canon full-frame video, and it does many things well... namely, headshot interviews, which is where I make most of my money. It's not well-suited for landscapes and deep DOF shots, as Andrew tells us time and time again. Lucky for me, I don't make any money shooting that stuff. There's other makes of cameras for that, though. As to which is 'money better spent' or 'too expensive', just know that less than a half-decade ago, filmmakers would DREAM to have the quality of video at a sub five-figure price point that people trash and deride today as 'over-priced' or 'greedy'. I say, go out and shoot with WHATEVER make of gear you have and work on your craft, lighting, and storytelling. Transcend your gear and its limitations.

[quote name='HurtinMinorKey' timestamp='1351719332' post='20734']
I really like the sequence of shots, color, and all the captured moments.

But I f-ing hate the camera. I can't wait for you to start tearing it up with the BMC.
[/quote]

So you really love the images, yet you really hate the camera that created those images?

Bizarre.

[quote name='TC' timestamp='1351683606' post='20700']
And Dragon boasts 15+ stops of dynamic range and 6k resolution, which comfortably beats Sony. That is what I base my statement on.
[/quote]

Yea, the RED-One-M [i]boasted[/i] 12 stops and was measured around 9-10. RED boasts, it's what they do.

Sony WILL hit 14 stops.

Regarding your point... Sony is newer technology, yes, and better technology... It is nothing for RED to be ashamed of, just the nature of the beast.

As for RED being super generous, great amazing guys. Yea, they have made some cool moves, but, sensor upgrades aside (and probably expensive new SSDs, modules etc to work with the sensor).... Those days are over. They have just as many ways to squeze you for a $ as Sony or anyone else.

And to note.... I am saving my money for a high end camera and RED may well get my $$$s.... I couldn't care less about the logo on the side, or the business choices they make... As long as what is important to me is there, I will buy.

[quote name='TC' timestamp='1351606594' post='20616']
I feel that Sony are a year or two behind Red on the signal processing side (don't forget the Epic has been around two years now with similar specs).
[/quote]

Based on what? On paper (and judging by the F65 footage), the Sony F55 will beat RED on DR, low light, colour rendition, will have a higher native ISO, high FPS, better codec choices and has a CCD sensor. The only tick RED has left is 5K output and the F65 just trumped that with 8K.

Sony are currently ahead of RED in every aspect, with the excepetion of personal choice aspects, eg, ergonomics, customer service etc and possibly price, when the dust settles.

I mean no offense, but all of the spots you put under "eoshd remark", those are the tough questions that you should have asked. Rather than slap on some back handed remarks with no option for them to actually answer you.
You asked questions in this article, not tough questions.
Mind you I am not great on my feet either.

The best part of that interview is that he was clearly concerned about dynamic range being lost at low ISOs. This seems to suggest they are taking DR very seriously. I could see this coming in at 12 stops over the 4:2:2 ... a bit like the C300.