gebybaidway

Today sees the announcement of a new DSLR sensor from one of Nikon's recent sensor supplier's Aptina which has a headline spec of 4K video at up to 80fps.

The highly rated company says it is 'combining DSLR image quality and 4K digital cinema' with the new AR1411HS sensor. Along with Nikon being on the record for wanting to add 4K video to future Nikon 1 mirrorless cameras, could the new Super 16mm sized Aptina sensor pave the way for them to do a Cinema EOS style range and 4K on DSLRs?

[url=http://www.eoshd.com/content/10158/could-nikon-be-about-to-enter-digital-cinema-market]Read the full article here[/url]

O dont have FCP x only PPro so Fix is for P Pro cs5.5 cs6

 

Above: my Blackmagic Cinema camera with ReWo cage - a shootout with the Red Epic is coming soon

BlackmagicUser.net recently did an interview with John Brawley, the cinematographer close to Blackmagic Design and main tester for the cinema camera.

His experience exposing the camera goes along with what I am finding, that the Blackmagic Cinema Camera works best when you 'expose to the right'.

A camera list and resolution chart showing something like this would be helpful (and motivate manufacturers to build products trying to get higher up on this list):   After working on this list for a while and seeing more charts, understanding Nyquist sampling theory is helpful ( http://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem ). Take the sensor width in pixels and divide by 2 to get a fair estimate of sampling resolution before aliasing. While aliasing past Nyquist can help make an image, especially a still frame, look sharp, when in motion, an alias-free image, especially with sufficient grain and high-frequency detail, will look most like film. Thus, even though the ARRI Alexa is only a 1080p camera, it currently produces the most film-like image and explains why it is used most when cost is no object.   <all cameras below have pro audio quality. Listing SNR & noise floor would be helpful) F65 - 3.9K (8K sensor with a few tricks, not true 4K) - 16-bit RAW RED - 3.xK (6K sensor: Dragon) - Wavelet compressed RAW RED - 2.5K (5K sensor) - Wavelet compressed RAW (see charts in this thread) 1DC - 2.xK - 8-bit MJPEG and H.264 ("4K" mode, need charts) F55 - 2.xK - 10-bit, XAVC, RAW (optional, extra hardware) F5 - 2.xK - 10-bit, XAVC, RAW (optional, extra hardware) FS700 - 2.xK (estimated with "4K" upgrade) - 12-bit RAW (extra firmware and hardware) ARRI Alexa - 1.9K (3.5K sensor) - 444 and RAW - pretty much zero aliasing and very film-like grain (see charts in this thread) BMCC - 1.xK (needs a test chart: will be less the 2.7K, closer to 2K from what I have seen so far) - 12-bit RAW <1/4" audio in> Hero 3 1.xK (needs a test chart) - 8 bit, 2.7K mode, H.264 F3 - 1.9K - 10-bit - Sony Pro CODECS, 10-bit 422 out 1DC - 1.9K - 8-bit H.264 Super 35 Mode C300 - 1.9K - 8-bit, 50Mbps long GOP MPEG2 (422), 8-bit 422 out, minimal aliasing C100 - 1.9K - 8-bit, Very high quality 24Mbps H.264:AVCHD (420), 8-bit 422 out, minimal aliasing FS700 - 1.9Kv, >1.9k diagonal, ~1.6Kh (trumpet chart) - 8-bit - Very high quality 24Mbps H.264:AVCHD, 8-bit 422 out, some aliasing FS100 - 1.9Kv, >1.9k diagonal, ~1.6Kh (trumpet chart) - 8-bit - Very high quality 24Mbps H.264:AVCHD, 8-bit 422 out, some aliasing GH2 - 1.7K - 8-bit,H.264:AVCHD  <add hacked bitrates> <not pro audio, add audio details> TM700 - 1.7K - 8-bit, 28Mbps H.264:AVCHD (60p), excellent IS, loud fan (audio issue)   <insert popular camcorders such as TM900, G10/XA10, NEX camcorders, XF105/305, etc.>   <all cameras below don't provide pro audio> GH3 - 1.8-1.9K? - 8-bit, 90Mbps H.264 I-frame, ~40Mbps IPB <add audio details> Hero 3 1.8-1.9K? - 8 bit, 1080p mode, H.264 1DC - 1.7K* - 8-bit H.264 full frame 1080p mode 1DX - 1.7K* - 8-bit H.264 full frame 1080p 5D3 - 1.6K (post-sharpened) - 8-bit, 90Mbps H.264 I-frame, ~40Mbps IPB <audio - 1/8" stereo mic, average noise floor> 6D - ~1.6K (post-sharpened) - 8-bit, 90Mbps H.264 I-frame, ~40Mbps IPB 5D2 - 1.5K - 8-bit, ~38Mbps H.264 IPB <audio - 1/8" stereo mic, average to poor noise floor>   This was a quick write up without verifying some of these items. Anyone interested: please correct and/or add detail to this list.   The resolution column is actual resolution of captured frames when displayed as RGB. Sensor resolution and manufacturer claims ignored in favor of actual hardware testing. Cameras such as the 5D3 may exhibit first artifacts around 1200 pixels (600 TV Lines), however detail extinction does not occur until around 1620 pixels (810 TV lines). Thus, it would be helpful to show both first artifacts as well as detail extinction.   See also: http://lagemaat.blogspot.com/2007/09/actual-resolution-of-bayer-sensors-you.html   *1DC, 1DX 1080p mode: estimated (looks slightly higher resolution vs. 5D3)   <TODO> Add supported frame rates.   Sony FS100/700 have unusual resolution behavior. Diagonal resolution is 1000+, vertical is ~1000, however horizontal is ~800 (when using a trumpet chart). A line chart shows 1000 or so for horizontal resolution, however aliasing has started. These cameras can also alias on fine horizontal and vertical lines. C100/C300 can also alias, however the cameras provide 1000 lines of resolution on both h and v.

I wonder why some of you are even here.

Devices, not cameras.  I'm not saying the Zoom is the best option, it's definitely good enough, as well as other purpose-built devices like it.  It's completely r-tarded to be wasting engineering and space on advanced audio for a camera when that cost, that time, that extra potential for issues would be better spent on its true purpose.
 
Single shooters can attach these compact recorders to their shoe on top. 
 
You actually complain that these compact recorders are trying to do too much yet you want to jam pro-level audio gear into a camera.  This conversation is absurd.

http://vimeo.com/57901943
 
Buy the E-mount Metabones Speed Booster - $599 for Canon EOS lens adapter, $399 for others
 
The Metabones Speed Booster adapter brings the full frame look to Sony mirrorless APS-C and Super 35mm E-mount. (Indeed it will bring the Super 35mm look to Micro Four Thirds but not until March).
 
It also gives you an extra stop of light. F2.8 becomes F2.0 and F2.0 becomes F1.4. F1.2 becomes a lightning fast F0.90.
 
It would appear the full frame sensor is now rather pointless. Is there a catch, a trade off in image quality?

In a sea of insipid and faceless cameras for the corporate workplace, here is something different. Like the Blackmagic Cinema Camera it is designed for filmmakers who want image quality as close to Super 35mm film as possible but can't afford $15,000+

This is rumoured to be around the $4000 mark and has a Super 35mm sensor, Cinema DNG raw recording and a very compact body with no fan.

Just thought I'd throw out the heads-up in case anyone is interested. It isn't mine (obviously), but the Todd AOs are decent AFAIK and complete single focus units.
 
http://www.ebay.com/itm/Todd-A-O-Anamorphic-lens-55mm-T1-3-canon-Arri-PL-Panavision-/330864182042?pt=Camera_Lenses&hash=item4d090ac31a

Finally got my GH3 and found a quick fix for the loose card slot door. It's VERY easy.
      Circled is the actual contact point of the locking mechanism. These indentations on the metal arm slide over the door hinge when you close the door and hold it shut.       Simply remove the metal piece with a screwdriver and give these little arms a slight bend towards where the hinge will be when re-attached. Just a VERY SLIGHT bend at the circled area is all you need - this photo was taken AFTER I bent mine.   When re-attaching the piece, take care not to strip out the screw hole.

I'd say Standard Digital video in the era of the VX1000 preceded the practical use of DSLRS for video...the quality of the preamps just declined and high level production required double system.
 
DSLR brought with it even more limitations like with audio metering, so it forces people to look outside the camera for solutions. 
Meanwhile, if you're weren't a one man army, there were better tools on the market, but it becomes a matter of budget. A working cinematographer/filmmaker needs the most versatile tools possible.

ok, fine, sorry, I surrender, everybody...GH2 anamorphic 4 life!  nothing else matters.

I hope they make a micro 4/3 version very soon !!
it will sell like hot cakes!