Xavier Plagaro Mussard

Not a hack, just a normal spam attack from about 7 robot controlled members.
I'm clearing it up in the admin panel as we speak.

Get hired - don't buy lol ? So cant wrap my head around why anyone invests in visual transient tools, when the client pays for them anyway ? Just get the job, charge it on, do the next one, when camera +1 comes out?  I may be simple, but all my colleagues who shoot all the world class shit,  hire the operators, then prod manager hires the tool as requested, they don't even own a lens never-mind a camera - not one of my director chums who shoot the shit that is beyond global big even owns a single film-making device other than a phone. Like with music - an old analogue synth will not make you the Human League - just get on with the content rather than reaching for association? Was told as a kid people who do do - people who won't talk about it a lot. Who knows eh

It's funny how people act surprised... This is RED we are talking about... We all said right after they announced it that their 4K couldn't be for all. It's for people who want to shoot film quality images on a budget. Yes a cinema camera (its still a dragon sensor seriously guys !!!). Now the real problem I see is the crop factor. 
Aside from that you still get a Dragon sensor 4K RAW 120fps camera for 10k. 
Now I don't think that everyone needs a Dragon Sensor, but prior from this announcement you couldn't get a dragon sensor for less than what ? 30k - 40k ? 
I think Red enlarged the choice for us. But if people thought they were going to have a run"gun camera from Red, they would be disappointed I guess  

buy a 50d for very around 150 bucks on ebay and play around with the raw workflow, if you like it get the 5d mark 3 and shoot full hd raw with it.

Maybe it's too obvious, but have you searched archive.org??

just to add, keep up contact with your second choice. in case the first one falls through. having a backup for each location has saved our butts quite a few times. most memorably, we were supposed to shoot on coastal bluffs in Malibu. the day before our shoot, they caught on fire. my producer was able to shift everything to the back up location in long beach and we didn't miss a beat.

Hello all,
Tito has kindly allowed me to do some streamlining of the Lens-yclopedia database:
I have templatized all the entries so key information is in the same location when you cycle through the pages. The template improves overall readability of the information. I've broken up Mounting Solutions into To Filter, To Taking Lens, and Lens Support I’ve changed the Index to a spreadsheet that provides key stats for easy ‘comparison shopping’ I’ve removed a couple lens entries that had no (or next to no) information. I've added a few bits of info on various lenses as I went through, particularly links to example footage. I’ve made significant updates to the B&H and B&L entries based on the info I gathered from EOSHD, as well as other locations. I'll keep adding to them as I embark on modding/using my lenses. Check out the updated Lens-yclopedia here. A great big huge thanks to Tito for allowing me to build on his great work.  And to all the folks who have responded to my info-seeking posts.  The information people have provided here has been invaluable for a newcomer like me.
I was surprised at how much info I was able to find on the B&L, I cited sources in the Lens-yclopedia entry where I could - I would love to see all entries given source/reference links. I know people’s time is limited, but even just a morsel of info here & there would really help re-invigorate the database and make it more robust.  A little crowd-sourcing can go a long way!
I am considering periodically starting ‘Seeking Info About X Lens” threads to build up the other lens entries in the Lens-cyclopedia.  If this is something you would like to see (or help me with), please chime in.  
If you want to send info my way (corrections, answers to red question marks, Lens-yclopedia functionality, etc), I will find time to update the database appropriately.
Cheers,
|. . | .|

True - best trying it out yourself before judging other peoples work, although that URSA 4.6k aesthetic has something very special about it.
I'm also very surprised at the content they put in these launch videos - surely they can come up with something better? Throw them into real projects for commercial, narrative, music video and documentary instead of filming a bunch of bushes, trees and people doing literally nothing. 
 
 

But then you have to add RED SSD, RED batteries, RED things... and then your bank calls you

Still don't understand the purpose of making another camera that can't shoot for over 20-30min w/o overheating. *shakes head*

Anyone else feel like this was too much information to take in all at once today?  I had to take a break.
Some questions that spring to mind: (havent checked thoroughly for answers)
1. What is the readout speed? It it the same as the GH4 due to being limited by the sensor, or is faster due to different processing/cooling.
2. Is the 4k and QHD native crop like it is in the GH4?  I would assume it is, but what about HD, is that also a crop, or the QHD downscaled, or the full sensor downscaled?
3 Is the mini SSD proprietary?  Shooting 4k raw is going to need some extra media.

Consider my jaw well and truly dropped. 

Behind the pixel wars I think there is Sandisk and Western Digital!!! ;-DD

Diffraction's going to be the biggest issue. The 5DS already shows diffraction losses at f/8, so not only will you be pushing your lenses to their limit, but you'll also be shooting them at apertures no smaller than f/2-2.8. 

We're reaching the point of diminishing returns. SD to HD was a quantum leap in quality. HD to 4K was small but noticeable--more useful for post than anything. Most theaters still use 2K projectors, and almost all films are only mastered in 2K. Most DPs even consider 4K too much resolution to shoot people without using diffusion to offset the harshness. The Epic Dragon with its 6K resolution was crazy. Luckily, RED was smart enough to use a bit of diffusion in the filter stack and digital pipeline, so we still had enough detail to downsample or crop down for a nice crisp 4K delivery. They also touted it as a way to shoot world-class video and still simultaneously, but it hasn't really worked that way in practice due to the lack of flash support and the fact that good video and sharp stills require completely different shutter speeds. Besides, 4K was more than enough for magazine covers as it was. 

I don't see the point of 8K. To me, the resolution race is over. We have far, far more than we need. I can see one or two 8K cameras for special cases/effects; they'll be for resolution what the Phantom Flex is for slo-mo. But to act like this will be anything like the leap from SD to HD is asinine, because there's only so much detail the human eye can resolve. And guess what? We've already reached that point! At 8-12 feet (the average distance a viewer sits from their TV), the difference between 1080p and 4K is so insignificant that you're basically guessing as to which is which. Contrast ratio, motion rendering, and color gamut/accuracy will make a far bigger difference. In the theater, you're limited by the display resolution, ambient conditions, and how well the projector is maintained. My theater has all 4K projectors, but half of them have a misaligned color panel. Even if it's only off by a couple pixels, there goes your resolution advantage right there.

So if home viewers can't resolve it and most theaters won't benefit, what is the value of higher-than-4K resolution? You have bigger file sizes, more cost in post, a more limited selection of suitable lenses, and a boost to your ego. What's the point? 

Manufacturers need to work on color, ease of use, workflow, heat management, bit depth/tonality, and compression. Resolution is at the bottom of the list. The Alexa's already proven it.

I hope all their high end cameras come with 8k and 16k 12 bit 4:4:4, so that their regular DSLRs get 4K 10 bit 4:2:2 lolz

In Rome, be a Roman : D hey, in any case, that just was the early beginning... the post is a bit longer ;-)

Announced this week at IBC. 
Good for NX1 users..

Not really understanding the negativity on this announcement. Can only assume the Canon name, coupled with the likely high cost.
Worth remembering though, if the flagship C500 II is 8K/60fps then the lower models have room to move up a level without threatening the flagship, eg 4K/24fps and 1080/120fps
Probably good news all around.

Maybe I should get back into selling diffusion filters . . . 'cause I don't know one actor/actress who wants to see their pores reproduced in 8K detail.

It's difficult to tell 2K from 4K in a theater, let alone in a tv. 8K is nowadays as useless as it can get, to me. And I am for progress. But better codecs and more ergonomic/better menus cameras would be more welcome, at least by me! 
RAI, italian public television broadcasts in SD 4:3. 

Pixel wars are back... It's pretty sad. Who will use 8K?? Don't say Hollywood, they can barely keep with 4K with all the CGI!

It's difficult to tell 2K from 4K in a theater, let alone in a tv. 8K is nowadays as useless as it can get, to me. And I am for progress. But better codecs and more ergonomic/better menus cameras would be more welcome, at least by me! 
RAI, italian public television broadcasts in SD 4:3. 

I'm curious about this sort of assertion.  Not because higher latitudes are nice, but because viewers seldom got more than 12 stop of latitude from their cinema experiences during the first 95% of cinema history.  "Cinema style," by my own experience, isn't about the end viewer getting a ton of DR.
If you want to make a good documentary, DR and that sort of technical craftsmanship is a consideration yes, but I personally kind of think it should be farther down on the list of things to fret about.  Content demands to be king when it comes to docs.  How could it be otherwise?  If there's no story, how do awesome visuals overcome that sort of shortcoming?
When it comes to docs, I'd suggest being there and getting the coverage in the best way as possible for your project should be the main consideration.  Of course, the OP needs to balance those sorts of considerations out with what he ultimately wants IQ-wise.
Myself, I'd be perfectly content to shoot a doc on a NX1 with a 50mm lens.  If I knew I was going into a bunch of low-light situations, I'd consider a Sony.  I'd not worry about off-board video recording.  I mean, any camera with some talent behind the shooting will easily offer a "cinema" experience.

Pixel wars are back... It's pretty sad. Who will use 8K?? Don't say Hollywood, they can barely keep with 4K with all the CGI!

Comparing MLraw to compressed video colors is ridiculous because it has nothing to do with what canon gives you but what raw gives you.