earnesync

https://vimeo.com/71650199
 
 
BMCC raw, graded in Resolve and Primiere 
Rokinon 24mm, Canon 100mm Macro.
Music: "Fractal Universe" by Mat Zo
Sunset on the Charles looking at Boston from Cambridge. This started as an idea to see if i could get some rolling shutter grossness (from fast pans), and moire from all the buildings, but the camera did pretty well. I tried out a bunch of different grades and LUTs to give it some variety.

Hey guys,   Made up my mind to sell some of my gear. PM me if interested in any of the following.   Kowa 16H 2X anamorphic adapter - good condition Canon FD 20mm f2.8, 35mm f2, 50mm f1.4, 85mm f1.2 lenses - all in good condition Canon FD to MFT adapter - new Slr Magic 12mm f1.6 - new Slr Magic 25mm f0.95 - new Voigtlander 17.5mm f0.95 - new   Thanks!

Here is the narrative music video 'Don't Stop' that I have directed & shot with my lovely BMCC :
 

 
+ few DNGs to play with : https://dl.dropboxusercontent.com/u/...tStop_DNGs.zip

Lenses used : 21 & 35mm Zeiss CP.2 - Tokina 11-16 + Mikkro Nikkor 55mm AI-S
Softwares used : Resolve 9 - FCPX - After Effect and Mocha Pro

I would love to get some feedback

-----

Produced & directed by MARC LINNHOFF - marclinnhoff.com
Music by BROAD RUSH get the full version here : hook-up.fr/broad-rush-dont-stop/
Backstage photos from P-mod : flickriver.com/photos/p-mod/sets/72157633312056426/

Starring : Joffrey Schmidt - Clarisse Hagenmuller - Denis Jelly - Nina Schouler - Pierre Riff

Camera & post-production : Marc Linnhoff
Lighting : Ludovic Haas - Dom Pichard/P-mod
Make up : Anne-K Lejeal - Elsa Parmentier

Special thanks to Yoko Tsuji, Jacques Roth, Tsaki, Arnaud Masson, Jessi & Michel..
 

Hi everyone,

I try to find a panasonic LA7200 for my BMCC, and during my research i have found that century optics have an anamorphic adapter, but i can't find any video with the BMCC. I'm new in anamorphic world so i need your help to tell me if this adapter can work with the BMCC  
 
And i want to use 24mm, 35mm 50mm and 85mm on it, do you think it's possible ?
 
I have read a lot of things, i understand the concept of shooting anamorphic, but i never had the chance to shoot with it, so it's a little bit difficult to understand everything.

http://www.adorama.com/Reviews/pwr/prod ... Mount.html

Thank you for your time.
 
Pierre
 

I am upgrading from my loathsome Canon 550D and will have approximately £5000 by December. The recent price drop in the Black Magic (MFT for me!) has finally convinced me after debating the merits of the Sony FS100 with myself but for the price and image compared to the BMCC it seems like common sense to me. I had my hopes set on the FS700 but for it's price tag I'll seldom be able to purchase anything else which is pointless and having rented the FS700 for my past two films I think it's time I avoid high speed for an entire production, I have a tendency to be far too indulgent with it. 
 
Anyway, I want to purchase a rig for studio styled use, matte box, follow focus etc. I want to know how many SSD's I will need (bare in mind I will predominately shoot pro res unless for a short film). I will also be buying an external battery, naturally. 
 
I also need to sell my 27" 2.8 GHz intel core i5 mac as it's incompatible with Davinci Resolve. I am begrudgingly moving from Mac to PC sheerly for the processing power bang-to-buck and will have to shell out even more money. How much would a PC capable of processing the 2.5k raw cost including all it's components such as graphics cards etc? 
 
With that money I will also be purchasing a jib as it proved invaluable in my previous short in achieving fluid camera motion which really dicks all over pans and fixed tripod shots. 
 
Forgive me if this post seems clumsy, I am still getting to grips with using a forum (as I rarely become members of ones) but was very encouraged after reading the discussions on this site regarding anamorphic adapters etc. It seems like a lot of knowledgable and helpful filmmakers actively use this service. 

I did some shots of the Duck Boats in Boston to try out my new Revo Rig. As you'll see,  It wasn't quite stable enough for the 100mm shots.
 
The company liked the video and posted it on their Facebook and Twitter.
 
https://vimeo.com/73272837

Hi guys,

I just got my first Panasonic camera after reading many reviews on it - the GH3. I've been trying to figure this out and found a few dpreview posts in which most say it can't be done, but some say it can, without providing an explanation. Frankly I seriously can't believe this limitation exists. Someone please tell me I missed something..

I wanna film in 24p, set aperture to 2.8, exposure to 1/50th (since 1/48 isn't available) and use AutoISO. Like I have for many years, on other cameras. Except of course there is only ISO 200 to 6400 available.

I have a variable ND filter but that doesn't replace AutoISO. This is a vacion movie so I want a good balance between good quality and ease of use...

Any ideas?

Cheers,
Raphael

This was a great week. It is the first time we've seen this kind of moving image from a full frame sized sensor in raw. A pristine 2K 14bit image that's like a 24fps digital film negative or a digital scan of Super 35mm. It's also a breakthrough for accessibility bringing raw video to many talents for the first time, when the only other accessible raw shooting cameras out there have been in extremely limited supply.

[url=http://www.eoshd.com/content/10407/the-impact-of-5d-mark-iii-raw-and-what-does-vincent-laforet-think-of-it]Read the full article here[/url]

Panasonic GH2 hacked
Moon Trial 5 hack, shot in 1080p HBR mode 25 fps (~ 60Mbps)
Standard profile -2-2-2-2
Panasonic 14-42mm kitlens, OIS on.
 
Looks like there are some dropped frames in the GH2 footage, did use a Sandisk 95MB/s card though...
 
Panasonic G6
AVCHD 1080p 25 fps (24Mbps)
Standard profile -5-5-5-5
Panasonic 14-42mm kitlens, OIS on.
 
Everything shot with the same fixed white balance at 1/50s, various apertures but same on both camera's at all times.
 
My first impressions:
The G6 looks better to me. Better shadow detail and a bit more detail in the highlights. Probably due to flatter picture.
 
The G6 shares the picture styles with the GH3, so no smooth like on the GH2.  Kept both camera's on standard to keep it as close as possible. Everything dialed down maximum.
 
Less noise at high iso's, less banding. Couldn't detect any moire.
 
Looks a tad less sharp than (hacked) GH2, but that could be up to the sharpening at -5. With some sharpening probably same detail level.
 
Rolling shutter looks the same to me.
 
Although the G6 is a bit smaller I actually prefer the grip to the GH2. It holds very nicely. The lcd is much much better. The color cast on the GH2 screen is horrible. The G6 looks pretty natural and true to the output. Funny thing: the viewfinder looks quite smaller to me.

It is mid-July and the new Blackmagic cameras - Pocket Cinema Camera and Production 4K Camera are due to ship imminently, which I am very much looking forward to. In anticipation I have been building up a collection of Super 16mm c-mount glass for my Pocket Cinema Camera.

However in my inbox today was a frustrated sounding email from London's CVP titled 'When will I get my Blackmagic Cinema Camera? As last July, Blackmagic are unable to tell them when they will receive camera shipments and in what quantities.

[url=http://www.eoshd.com/content/10792/biggest-european-dealer-cvp-in-the-dark-over-new-blackmagic-cameras]Read the full article here[/url]

http://vimeo.com/59832019

The Nikon D5200 is the best mid-range Nikon yet for video. What is more of a surprise is the relish in which it takes on the much more expensive 5D Mark III, Panasonic GH3 and Nikon's own flagship the D800 and D4.
 
http://www.eoshd.com/content/9653/nikon-d5200-review

Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing.
 
I will only add lenses to the lists when you have proof, in other words: images.
 
How?

Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC.
 


In Photoshop:
Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm!

To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it.

List terms explained:

Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera
No = doesn't cover the sensor
Needs modification = Doesn't fit on C-mount to M43-adapter without modifications
Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example)

Blackmagic Pocket Cinema Camera Compatibility list

Primes
 
Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof]
 
Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info]
 
Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info]
Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof]
 
Century 9mm f/1.8 - YES (poor quality) [link to proof]
 
Computar 8mm f/1.3 - NO [link to proof]
Computar 16mm f/1.4 - NO [link to proof]
Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof]
 
Cosmicar 8,5mm f/1.5 - NO [link to proof]
Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof]
Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof]

Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof]
Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof]
 
Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof]
Fujinon TV 16mm f/1.4 - NO [link to proof]
Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof]
 
Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof]
 
Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof]
 
Nikon Cine Nikkor 13mm f/1.8 - Yes =  37,5mm f/5.2 [link to proof]
Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof]
 
Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof]
 
Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof]
Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof]
Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)]
Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof]
Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof]
 
SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD)
 
Tokina TV Lens  8mm f/1.3 - NO [link to proof]
Tokina TV Lens 16mm f/1.6 - NO [link to proof]
 
Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof]
Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof]
 
Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof]
 
Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof]
Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof]

$ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof]

Zooms
 
Ernitec 6-12mm f/1.4 - NO [link to proof]
 
Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]

I just bought a Sony DSC-RX100. After a couple years shooting my personal projects on a Canon 7D, I needed something more compact that I could carry with me at all times, and the Sony DSC-RX100 looked like it could be the one. The great reviews, the ability to shoot 1080p at 50fps with a fast Zeiss IS lens, full manual control in video mode, focus peaking and a 16mm sized sensor convinced me to go for it!
 
My footage shot on the 7D improved quite a lot during the time I've been using it, knowing a camera's strong points and especially its limitations is very important to getting good images out of it, so the first thing I did with the Sony DSC-RX100 was to shoot some tests to help me decide which settings I'll be using when shooting video with it.
 
Like most people around here I learn so much from online reviews and discussion forums, and those have been a great help deciding my gear purchases, so I'm sharing what I learned from my tests as a way to return the favor and give something back to the community. There's been some good reviews of the Sony DSC-RX100 online, and some useful info spread around the internet, but I think this post will cover a lot of useful information for whoever's interested in this camera for video, and much of this info will also apply for any other similar camera.
 
I started by turning off all the automatic picture improvement options, as they usually degrade the quality of the image and make it less gradable, then I set the codec to AVCHD at 28mbits and 50p (PS).
 
SHOOTING MODE
For video shooting I'd recommend setting the top wheel to video mode and then selecting video-M for manual video shooting
The RX100 does have a dedicated Movie Recording button, and can shoot video on any Stills mode, but you might get aspect ratio and exposure changes once you hit the Record button in these modes. In video-M mode you'll get what you see on screen.
 
RECORD SETTINGS
 
The Sony RX100 can shoot movies in two different formats, MP4 and AVCHD. All MP4 options are below 1080p resolution though, so I won't get into those. In AVCHD mode however, we get 3 different 1080 options:
 
50i 24M (FX) (50i @ 24Mbps, Blu-Ray AVCHD disc compliant)
50i 17M (FH) (50i @ 17Mbps, DVD AVCHD disc compliant)
50p 28M (PS) (50p @ 28Mbps, Progressive Scan)
 
So it seems like we get 50i at 17Mbps and 24Mbps, and we get 50p at 28Mbps, but not really…
The 50i mode is actually capturing 25p images out of the sensor and encoding them as 50i footage, this means that we do end up with interlaced footage, but since it was captured progressively, de-interlacing it will produce a clean 25p image!
 
So if we're looking for the best possible video out of the RX100, we should use 50i 24M for 25fps video and 50p 28M for 50fps video.
In theory, shooting 50i 24M gives us the best bitrate per frame in this camera, almost twice as much as shooting 50p 28M.
Shooting 50fps however would have neighboring frames changing less than when shooting 25fps, helping the encoder do a better job, but still the per frame bitrate is lower, and here's a comparison that shows is. If you look at the darker areas in the back where the window is, you'll see that the 50i version is slightly cleaner.
 

 
Here's an example of something in motion shot at 50i and 50p, the 50i frame was de-interlaced and as you can see there's no interlacing artifacts at all.
 

 
Considering all of the above, I think it's safe to say that the 50i 24M mode, which is in fact 25p @ 24Mbps, will give you best video quality out of this camera.
  CREATIVE STYLES
Creative Styles is the RX100's designation for Color Profiles.
My first test was to choose the flattest Creative Style the camera had to offer, so I shot some footage of all the different styles.
 

 
After looking at all these different images, I decided to go with the Portrait Creative Style, as it seems to be the flattest of them all.
 
EXPLORING THE PORTRAIT CREATIVE STYLE
Each Creative Style has settings for Contrast, Saturation and Sharpness that can be set from -3 to 3, so I shot some more footage using the Portrait Creative Style in a number of different settings.
 

 
Using the Portrait Creative Style at the minimum settings (Contrast: -3, Saturation: -3, Sharpness: -3) definitely (and obviously) seems to be the flattest style in this camera, but I had to check how well it graded and how it compares to using the default values (Contrast: 0, Saturation: 0, Sharpness: 0).
 

 
On the top left you have a frame shot using the Portrait Creative Style, with all the settings set to 0, on top right you have a frame shot using the Portrait Creative Style in its flattest settings (Contrast: -3, Saturation: -3, Sharpness: -3).
On the bottom right frame I added some sharpness to the flat image, which responded quite well, and on the bottom left frame I added not only sharpness but also increased the Saturation and Contrast in order to match the top left frame (Contrast: 0, Saturation: 0, Sharpness: 0).
The result is an image that matches in color saturation and contrast, but with a much nicer detail and less compression artifacts. It looks sharper and cleaner overall, which made me decide to use this Creative Style and these settings from now on.
 
SHOOTING BLACK & WHITE
The following test is something I've been wanting to do for a while, regardless of the camera. The thinking behind this test was:
 
"If the camera is compressing B&W footage instead of color footage, maybe it can do a much better job at it since it doesn't have all the color information to process, so even using the same bit rate could give us better results."
 
Of course I don't know the details on the cameras' inner workings, but assuming the B&W Creative Style is applied BEFORE the footage is compressed to AVCHD, then this should work. Maybe.
 

 
So I shot some footage using the B&W Creative Style in its flattest settings (Contrast: -3, Saturation: -3, Sharpness: -3), which you can see on top left, and then some more footage using my new favorite Portrait Creative Style, also in its flattest settings (Contrast: -3, Saturation: -3, Sharpness: -3).
 
On the middle left frame, I increased the sharpness and the contrast on the image to make it less flat, and on the middle right frame I did the same, and also desaturated it. As you can see both images are different, since the B&W Creative Style's color conversion is not merely desaturating the image to create a B&W version, it's using a more clever process that also looks better, but anyway, the point here is to test the image compression and figure out which one gives cleaner results, so on the last test frames I increased the exposure by 2 stops to find out how well the images handled it.
On the bottom left frame you can see how much cleaner the image shot with the B&W Creative Style is, compared with the one shot using the Portrait Creative Style, it's actually beautifully clean and overexposing it by 2 stops didn't show any ugly artifacts at all.
 
So my conclusion on this one is, if you're shooting for black and white, and you're sure that's the look you'll want (since it's kind of hard to color B&W footage if you change your mind afterwards), then using the B&W Creative Style will give you far superior results!
 
DYNAMIC RANGE OPTIMIZER
The Dynamic Range Optimizer works when writing to compressed formats, such as JPG, MP4 or AVCHD. It has no effect when shooting RAW.
Its purpose is to capture more detail in the areas that are more prone to get lost when using compressed formats, such as dark shadows. It works in the darker areas of the image, making them brighter and producing a flatter image, which makes it easier on the image compression to achieve better results.
Here's a test scene shot using all the DRO levels available. There's also an Auto Mode, but I suspect it wouldn't give predictable results when shooting manual video.
 

 
The result is quite clear on every mode. Personally I think 5 is too much and might be actually degrading the image more than it helps, but lower settings definitely look not just useable but very useful in achieving a flat and clean image. I'd say using the DRO in its modes 2 and 3 would definitely help achieving a better flat image. I'll probably leave it at 2 all the time and increase it to 3 in situations with more contrast.
 
5DtoRGB
I've used 5DtoRGB on Canon footage since the early beta versions, and I honestly don't understand how come it's not used by everyone. 5DtoRGB features one of the best YCbCr to RGB compression out there, and it's free!!!
(the Pro version with batch capabilities costs $50 though)
 
5DtoRGB does a great job improving aliasing and compression artifacts and transcoding to 10-bit Prores (can also transcode do DPX image sequences and DNxHD files), or at least it did with Canon DSLR footage, so I thought I'd try it with the RX100.
 

 
The top frame is from the original AVCHD file and the bottom frame is from the Prores transcoded file out of 5DtoRGB.
5DtoRGB automatically changed the Decoding Matrix setting to ITU-R BT.709, so I assume that's the one to use with the RX100 (Canon DSLRs like the 550D, 60D or 7D used the ITU-R BT.601 Decoding Matrix, the 5Dmk3 however used the ITU-R BT.709).
Looking at it like this there's not much of a difference, so I went looking in the channels.
 

 
The Red and Green channels looked quite clean in both versions, but looking closely at the Blue channel you can see how 5DtoRGB makes a pretty good job at smoothing out some of the compression blockiness, but mainly smoothing out the aliased lines you get on sharper edges.
Using 5DtoRGB won't do any miracles, but when shooting to 8 bit compressed codecs, every little bit helps, and using it along with a flat Creative Style will definitely help you getting cleaner and better images.
 
SHUTTER ANGLE / SHUTTER SPEED
The Sony DSC-RX100 has the annoying feature of only shooting 50fps (or 60fps on NTSC markets).
On one hand it's great to be able to shoot 50fps at 1080p, but on the other hand, shooting 25fps at the same bit rate would probably produce better results with less compression.
One of the advantages of this could be that you'd always have the extra frames in case you needed the slow motion effect, but unfortunately that's not quite the case, since the ideal shutter speed for 25fps real time playback is different than the ideal shutter speed for 25fps slow motion playback.
If you're planning on shooting for 25fps real time playback, then you should set your shutter to 1/50, but if you intend to shoot for slow motion playback at 25fps, then you should set your shutter speed to 1/100.
 

 
Using a shutter speed of 1/100 for real time 25fps playback will not give you enough motion blur, and the motion playback will not be as smooth as it should. Also, playing back footage shot at 1/50 shutter speed at 25fps slow motion will have too much motion blur, making its motion look rather fuzzy.
 
 
Here's a sample file you can download yourself.
This was shot at AVCHD, 1080 50fps with a shutter speed of 1/50, meant to be used on a 25fps timeline, playing at real time:
https://dl.dropbox.com/u/8569573/rx100review/RX100videoSample1.mov
 
 
That's it for now, I really hope it helps some people out. I have some videos I can share later on if you're interested, and I also might update this review with tests of the different Steady Shot modes once I get to them.
Keep in kind that these are only my findings and personal opinions, it would be great to hear from people with different opinions, or about settings you think would give better results.
 
Enjoy!

Hello EOSHD community, thank you for allowing me on your forum.  I just ordered and received this week my SLR Magic HyperPrime 25mm Cine T/0.95. I emailed them last month and was placed on their pre-order list. I received an email from Jane at SLR Magic late last week stating they are taking payment for pre-orders. I completed payment via PayPal that night and the next day received an email that the lens was shipping that day, and I received the lens two days later!
 
They are discounting the lens $150 for a limited time, and for the first 100 customers they are giving a free lens-specific 49mm-77mm step-up ring and lens cloth. I have not shot with the lens much yet, but so far image quality is very nice wide open at T/0.95. Of course, focusing at T/0.95 can be difficult as depth of field is beyond razor thin. I have posted only a few SOOC JPEG samples from my GH3 and plan to upload more as I can. I bought this lens primarily for video on my GH3 and will also be posting some sample video when I can. So far it is an incredible lens, in both build and image quality.  I am new to shooting video and the info I have found on this forum have been invaluable.  Again, thank you.    
 
http://www.flickr.com/photos/ludacliff_78/sets/72157632997278386/

http://vimeo.com/62177101

High speed shooting hasn't been possible on DSLRs until now. Again it is the much dismissed Nikon V1 providing the creative inspiration...
 
http://www.eoshd.com/content/9821/radioactivity-my-400fps-shoot-with-the-nikon-v1

Has anyone tried their hand at filmmaking apps? If yes, which ones did you like, in particular, and, would recommend, to other filmmakers?
 
I have tried a clapboard app, once. It was pretty neat. I also, used the light app, where different colours of light are available, as well as light blinking, at varying speeds. It was great for creating horror effects, and carrying cheap, portable lighting, which was super portable (for super close up, though). I used it on an iPad. I tried Celtx, but, I don't particularly fancy script formatting apps, so, that wasn't for me. I've tried sound effects, and the teleprompter. The teleprompter was great. 
 
I've wanted to try using some music making app (garage band, caustic etc), but, I am not too sure, about my ear for music. Also, since I've never really tried my hand at creating music (I learnt how to play the guitar and the synthesizer, as a kid), I am a little unsure.
 
Anyways, I sold my iPad, so, I wanna try apps for my android. Maybe on a smaller phone or phablet size device.
 
Any suggestions?

I asked Carry Speed if their LCD Viefinder will be available in near future for the GH3. This is the answer:
Dear Customer, We are design and will bring out a new LCD view finder soon, which we believe would fit GH3.If possible, please sign up our news letter and we will love to keep you updated on our latest innovation.Thanks!
 
Cheers, Tom.

Do you guys think this is a game changer? Why?
 
Thanks,
 
mtheory

Hi All,

Has anyone out there had any problems with banding/blocking occasionally on blue skies with the C300?

I have encountered this a couple of times and wondered if this is an inherent problem with this particular camera/codec.

It would be great to hear anyone else's experiences.

Many thanks

https://vimeo.com/18743558
 
After completing a few fesitvals, we've made this short film public now. It was shot a couple of years ago all on 550D. That was before I used Magic Lantern, mosaic filter, knew half of what I do now! 
 
We're still pretty happy with it now, though we're also confident of doing better on the next one.
 
It was also way before Black Mirror ;)

Here's another Leica M video. 
http://vimeo.com/62106958

Any luck? I seem to be dropping my connection between the camera/iPhone when I follow directions  on page 69 of the owners manual. HELP!

In the early days of DSLR video the codec was probably the weakest part of the camera. With the advent of uncompressed HDMI out - the codec is no longer a weak point but sensor sampling becomes an Achilles Heel.

Can the Nikon D5200 benefit from a hike in image quality from using an external recorder?

Hi i am wondering about buying a GH3 it will be used for landscape/nature footage but i am uncertain about how much better the GH3 dynamic range in video mode is? I know that the GH3 is superior in photo mode but how much better is it's dynamic range in video? The GH3 and a decent lens is a large investment and i want to know that there will be a big different.
 
I want a smooth organic image quality. I have seen alot of sample footage and yes the GH3 is much sharper and certainly superior bitrate compared to the RX100. But i am more uncertain about the dynamic range.
 
Would be nice if maybe someone can make a dynamic range comparison between the RX100 and the GH3. With the best possible settings on both cameras.
 
I own a RX100 which is certainly a great camera. The GH3 is interesting but i have not been convinced yet that it will be worth the cost.
 
Dynamic range is very important but i can't afford the cost of the BMC with lenses and accesories.
 
I would really wish for a camera of the size of the RX100 which would have the dynamic range of the BMC in it's video mode. I hope it will happen some day.
 
I have also been looking at the canon HF G20 and G25 cameras but am disappointed that they still are 1080i based cameras. The panasonic SD900/X900/X920 have even smaller active sensor size then the G20/G25 so they are out of the question. I have the SD600 (which is 3xcmos and 1080p 50fps) and the dynamic range certainly is limited and kills all chances of the organic quality i want to see.

http://vimeo.com/61304882

Catch the EOSHD interview with Leica's Jesko von Oeynhausenand and hands-on with the Leica M type 240 here

The new Leica M (dubbed type 240) has a CMOSIS full frame sensor, and a first for a Leica camera - video. Not since the Leicina 8mm camera (EOSHD article) has a Leica product been viable for cinema.

The Leica M of course is primarily a photography tool, but it is interesting to see if Leica have taken the same no-compromise approach to image quality in video mode as they have always done with stills.

Furthermore Leica are a company with no high end cinema camera range or video camera market share to protect from themselves (yes - never did make sense that did it?)